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STOKES'  ENCYCLOPEDIA 

OF 

MUSIC  AND  MUSICIANS 


STOKES'  ENCYCLOPEDIA 

OF 

MUSIC  AND  MUSICIANS 

COVERING  THE  ENTIRE  PERIOD  OF  MUSICAL  HISTORY 

FROM    THE    EARLIEST  TIMES   TO   THE 

SEASON   OF    1908-09 

BY 

L.  J.  deBEKKER 


NEW  YORK 

FREDERICK  A.  STOKES  COMPANY 

PUBLISHERS 


CopyniGHT,  1908 
By  Fbedebick  A.  Stokes  Company 

November,  1908 


vim  UNIVERSIlnC  BBESa,   CAVBBJDQX,  US.JU 


PREFACE 

To 

STOKES'   ENCYCLOPEDIA  OF  MUSIC  AND 

MUSICIANS 

This  book  Is  intended  to  be  a  record  of  fact  and  not  of  opinion. 
It  is  a  reference  book  to  which  one  may  turn  for  adequate  informa- 
tion on  any  matter  connected  with  music  or  musicians.  It  is  com- 
prehensive, containing  a  wider  variety  and,  it  is  believed,  a  greater 
number  of  topics  than  any  other  musical  reference  work.  It  in- 
cludes, for  example,  definitions  of  musical  terms  simply  expressed ; 
biographies  of  all  musicians  worthy  of  remembrance;  explana- 
tions of  the  theory  of  music,  without  technicahties ;  the  stories 
of  all  the  important  operas,  beside  all  the  matters  usually  included 
in  musical  encyclopsedias.  Because  of  the  fact  that  English- 
speaking  people  hear  opera  in  every  tongue  but  their  own,  the 
author  has  made  a  point  of  narrating  as  fully  as  possible  stories 
of  all  operas  which  are  generally  sung  or  which  are  likely  to 
become  popular.  In  this  respect  the  work  has  unusual  value  for 
the  layman.  Since  special  stress  is  laid  on  achievement,  com- 
plete lists  of  the  works  of  the  great  composers  are  given.  Even 
in  the  notes  about  obscure  musicians  the  titles  of  some  works  are 
included.  A  list  of  books  for  further  reading  is  given  at  the  fend 
of  every  Important  article. 

American  and  English  musicians,  so  often  neglected  In  works 
of  this  kind,  are  given  their  due  proportion  of  space.  Respect 
for  the  old  masters  of  established  reputation  has  not  Interfered 
with  just  treatment  of  the  younger  generation  of  French  and 
Italians.    For  the  first  time  In  an  English  reference  work  special 


vi  PREFACE 

articles  are  devoted  to  great  national  schools  such  as  the  Madrid 
and  St.  Petersburg  Conservatories. 

In  many  matters  the  author  has  been  compelled  to  compare, 
weigh,  and  analyze  all  opinions  entitled  to  respect.  Wherever 
he  regards  a  fact  as  definitely  settled  he  states  it  without  dis- 
cussion, but  where  it  is  impossible  to  reconcile  divergent  views 
he  has  presented  both  sides  of  the  question.  He  has  treated 
every  subject  in  the  light  of  the  latest  research,  presenting  mate- 
rial about  many  subjects  not  heretofore  treated  in  an  encyclo- 
paedia of  music.  It  is  hoped,  therefore,  that  the  work  is  thor- 
oughly up  to  date  for  all  purposes. 

In  order  to  include  hundreds  of  new  subjects  while  giving  ade- 
quate treatment  to  the  usual  topics,  it  has  been  necessary  to  adopt 
some  method  of  condensation.  Abbreviations  have  been  employed 
and  such  useless  verbiage  as  "  the  time  and  place  of  his  death 
are  a  matter  of  dispute  "  has  been  eliminated.  In  biographical 
accounts  the  name  of  the  person  is  invariably  followed  by  an 
active  verb  leading  into  that  person's  achievements.  If  the  dates 
or  other  facts  are  unknown,  they  are  omitted  without  comment. 

This  book  was  written  to  meet  the  necessities  of  students  and 
lovers  of  music,  but  it  is  hoped  that  professional  musicians  may 
find  it  helpful  by  reason  of  its  simplicity,  compactness,  and 
thorough  system  of  cross-referencing. 

Although  no  work  of  this  kind  can  be  wholly  free  from  error, 
it  is  hoped  that  the  efforts  that  have  been  made  to  insure  accuracy 
of  statement  have  been  successful.  The  publishers  will  welcome 
the  cooperation  of  all  who  detect  errors,  and  will  be  most  grateful 
for  corrections  or  addenda  that  will  make  this  encyclopaedia  more 

accurate  and  complete. 

The  Publishees. 


STOKES'  ENCYCLOPEDIA 

OF 

MUSIC  AND   MUSICIANS 


TABLE   OF  ABBREVIATIONS 


^ft.— Alto. 

A  ug, — August. 

b. — Bom. 

Bar. — Baritone. 

Bro.  — Brother. 

Bros. — Brothers. 

Co. — Company. 

Con. — Contralto. 

a.  —  Died. 

D.D. — Doctor  of  Divinity. 

Dec.  — December. 

Dr. — Doctor  of  Music. 

Eng. — England  or  English. 

Feb. — February. 

Fr. — French. 

Ger. — German. 

Gr.  —  Greek. 

Heb.  —  Hebrew. 

Hon. — Honourable. 

It.  —  Italian. 


Jr.  — Junior. 

L. — Latin. 

LL.D. — Doctor  of  Laws. 

m.  — Married. 

M. — Monsieur. 

Mez. — ^  Mezzo. 

Mile. — Mad  emoiselle. 

Mme. — Madame. 

No. — Number. 

Nov.  —  November. 

Oct, — October. 

Op.  —  Opus. 

Ph.D. — Doctor  of  Philosophy. 

Port. — Portuguese. 

Prof.  ■ —  Professor. 

Rev.  —  Reverend. 

Russ.  —  Russian. 

Sp. — Spanish. 

Ten. — Tenor. 

Treb. — Treble. 


Jan.  —  January. 

The  customary  abbreviations  are  employed  for  the  names  of  all 
American  States.  In  the  notation  of  pitch  here  employed  c'  is  "  Middle 
C"  ;  c  the  octave  below;  C  the  octave  below  that;  c"  the  octave  above 
«  Middle  C,"  etc. 


ENCYCLOPAEDIA 

OP 

MUSIC  AND  MUSICIANS 


A  became  the  sixth  tone  of  the  nat- 
ural key  of  C  upon  the  adoption  of  the 
modern  SCALE  in  the  16th  century 
and,  in  International  or  French 
PITCH,  a'  is  produced  by  435  vibra- 
tions per  second  at  the  temperature 
of  59°  Fahrenheit.  A  is  likewise  the 
name  of  the  major  key  having  three 
sharps  and  of  the  minor  key  relative 
to  C.  One  string  is  tuned  to  A  in  all 
instruments  of  the  viol  family;  one 
clarinet  is  set  in  A;  hence  all  instru- 
ments in  the  orchestra  are  attuned  to 

A,  usually  sounded  by  the  oboe. 
Aaron   first    introduced   Gregorian 

chant  into  Grermany.  A  Scotch  monk, 
he  became  abbot  of  St.  Martin's,  Co- 
logne;   d.  1052. 

Aaron  or  Aron  (Fietro)  was  first 
to  abandon  Latin  for  the  vernacular 
in  writing  on  counterpoint  and  musi- 
cal history;  established  a  music  school 
in  Rome  under  the  patronage  of  Leo  X, 
1516.  His  works  are  listed  in  "Musik 
Literatur,"  Becker,  Leipsic,  1836.  B. 
in  Florence;  canon  of  Rimini;  d. 
1533. 

Abaco  (Baron)  composed  for  'cello, 
on  which  he  was  a  noted  amateur  per- 
former. B.  at  Verona;  one  composi- 
tion is  dated  1748. 

Abaco  (Evaristo  Delice  dall')  com- 
posed many  concertos  and  sonatas  for 
strings,  published  in  Amsterdam; 
served  Max  Emanuel,  Elector  of  Ba- 
varia, as  violinist  and  concertmeister. 

B.  at  Verona,  1662;  d.  in  Munich, 
July  12,  1742. 


Abacus.  Diagram  showing  notes 
on  the  keyboard;  Et  Falmulae,  ma- 
chinery for  'striking  keys  of  the  an- 
cient polyplectrum;  Harmonicas, 
the  disposition  of  an  instrument's 
keyboard  and  pedals. 

A  Ballata.    It.    In  ballad  style. 

Abat-voix.  Fr.  A  voice  reflector 
or  sounding  board. 

A  Battula.  It.  "  With  the  beat." 
Indicates  a  return  to  strict  time. 

Abbacchiota.  /*.  With  melan- 
choly expression.    , 

Abbd.-Cornaglia  (Fietro)  composed 
operas  and  church  music.  B.  Ales- 
sandria, Piedmont,  1851;    d.  1894. 

Abbadare.    It.    To  take  care. 

Abbadia  (ITatale)  composed 
masses,  motets,  a  vesper  service,  and 
operas.     B.  Genoa,  Mar.  11,  1792. 

Abbadia  (Luigia)  sang  mez.  rSles 
with  such  success  that  Donizetti  wrote 
"Maria  Padilla "  expressly  for  her; 
taught  in  Milan.  B.  Genoa,  1821, 
daughter  of  Natale. 

Abbandonarsi.  It.  With  aban- 
donment. 

Abbandone,  Abbandono,  con.  It. 
With  self-abandonment;  despondingly. 

Abbandonevolxnente.  It.  With 
fury,  violently. 

Abassamento.  It.  Lowering; 
Di  Voce^  of  the  voice;  Di  Hano,  of 
the  hand  in  downward  beat. 

Abbatinl  (Antonio  llaria)  served 
as  chapelmaster  at  St.  John  Lateran 
and  other  Roman  churches;  assisted 
Kircher  in  his  "MUSURGIA";   com- 


ABBE  !S 

posed  the  opera  "  Del  Male  in  Bene  "; 
published  four  books  of  Psalms,  three 
of  masses,  etc.,  but  declined  proposi- 
tion of  Urban  VIII  to  supersede  Pales- 
trina  by  rewriting  the  hymnal.  B. 
Tiforno,  1607;    d.  1677. 

Abbe  (Joseph  Barnabe  de  St. 
Sevin.)  published  eight  works  of 
sonatas  and  trios  for  violin;  played 
violin  at  the  Comedie  frangaise  and 
Opera  from  1739  to  1762.  B.  Agen, 
France,  June  11, 1727,  son  of  Philippe; 
d.  near  Charenton,  1787. 

Abb6  (Philippe  and  Pierre  de  St. 
Sevin)  were  famous  'cellists  at  the 
Op6ra,  Paris,  18th  century,  having 
been  music  masters  previously  at  the 
parish  church,  Agen.  Exquisite  play- 
ing of  Pierre  is  said  to  have  caused  the 
abandonment  of  the  viol  da  gamba  for 
the  'cello  as  an  orchestral  instrument. 

Abbelire.  /*.  To  overload  a  mel- 
ody with  ornament. 

Abbelitura.    It.     Embellishment. 

Abellimeuti.  It.  Agremens,  florid 
ornaments  indicated  by  a  sign. 

Abbey  (John)  built  organs  of  im- 
proved construction  for  many  French 
churches;  left  business  to  his  sons, 
E.  and  J.  Abbey.  B.  in  England, 
Dec.  22,  1785;  d.  Versailles,  Feb.  19, 
1859. 

Abbott  (Bessie)  made  her  debut  at 
the  Opfira,  Paris,  1902.  B.  in  America ; 
sop.  Metropolitan  Opera,  New  York, 
1908. 

Abbott  (Emma)  sang  leading  rdles 
in  her  own  opera  company  throughout 
United  States;  declined  to  sing  "Trav- 
iata  "  on  moral  grounds.  B.  Chicago, 
1850;    d.  1888. 

Abbreviamenti.  It.  ABBREVI- 
ATIONS. 

Abbreviations  are  employed  in 
music  for  terms  of  expression,  as  dim. 
for  diminuendo,  f.  for  forte;  as  arbi- 
trary signs,  such  as  two  dots  on  either 
side  of  an  oblique  line'  for  repetition 
of  a  group  of  notes;  or  as  numerals, 
which  serve  as  shorthand  symbols  for 
various  chords  in  figured  bass. 

A-B-C-IDIBEIT.  ffer.  Exercises 
in  which  names  of  notes  replace  words. 

Abd  el  Kadir  (Ben  Isa)  wrote  on 
the  history  and  theory  of  music,  and 
collected  Arabian  songs,  14th  century. 


ABELA 

Abegg  Variations  were  written  by 
Schumann  in  compliment  to  Meta 
Abegg,  on  a  theme  formed  of  notes 
contained  in  her  last  name. 

Abeille  (Johann  Christian  Iiud- 
wig)  composed  "Amor  und  Psyche," 
"Peter  und  Annchen,"  an  Ash  Wednes- 
day Hymn,  songs,  harpsichord  con- 
certos and*' trios;  was  successively 
concertmeister,  organist,  and  music 
director  to  the  Duke  of  WUrtemberg 
during  50  years.  B.  Bayreuth,  Feb. 
20,  1761;    d.  1832. 

Abel.  Thomas  Augustine  Arne's 
oratorio,  performed  in  London,  1775, 
proved  a  failure,  although  containing 
a  beautiful  "  Hymn  of  Eve." 

Abel  (Clamor  Heinrich)  published 
dance  music  for  strings,  "  Erstlinge 
Musikalischer  Blumen,"  reprinted  as 
"Drei  Opera  Musica";  musician  to 
Elector  of  Hanover.  B.  in  Westphalia 
about  1650. 

Abel  (Earl  Priedrich)  first  made 
Haydn's  symphonies  known  in  Eng- 
land through  concerts  he  directed  with 
John  Christian  Bach;  wrote  sym- 
phonies, sonatas,  etc.,  once  highly  pop- 
ular; the  last  of  great  viol  da  gamba 
performers.  He  studied  under  Johann 
Sebastian  Bach  at  the  Thomas  School, 
Leipsic;  played  10  years  in  the  Dres- 
den court  orchestra;  made  London 
debut,  April  5,  1759,  In  programme  of 
his  own  works;  became  court  musi- 
cian to  Queen  Charlotte.  B.  CSthen, 
Germany,  1725;  d.  in  London,  June  22, 
1789.  Leopold  August  composed  six 
violin  concertos;  conducted  and 
played  violin  at  several  German 
courts.  B.  Cothen,  Germany,  1720, 
brother  of  KARL  FRIEDRICH. 

Abel  (Louis)  wrote  an  excellent 
violin  method.;  conducted  the  Munich 
court  orchestra.  B.  in  Thuringia, 
1835 ;    d.  Munich,  Aug.  13,  1895; 

Abela  (Karl  Oottlob)  promoted 
the  study  of  song  in  German  public 
schools;  published  collections  of  part 
songs;  became  cantor  of  St.  Mary's, 
Halle,  1825.  B.  Boma,  Germany, 
April  29,  1823;   d.  Halle,  1841. 

Abela  (Don  Placido)  composed 
church  music  and  played  the  organ. 
B.  Syracuse,  1814;  prior  of  Monte 
Cassino;    d.  July  6,  1876. 


▲BELIi  i 

Abell  (aTohn)  won  fame  aa  a  contra 
ten.  and  lute  player ;  published  "  A 
Collection  of  Songs  in  Several  Lan- 
guages," dedicated  to  William  III,  of 
England,  and  "  A  Collection  of  Songs 
in  English."  Educated  in  the  Chapel 
Royal,  favourite  of  Charles  II  and 
James  II;  dismissed  as  a  Papist  after 
the  Revolution  of  1688,  he  wandered 
through  Europe,  supporting  himself 
by  his  art;  returned  to  London  in 
Queen  Anne's  reign,  gaining  honours 
on  the  lyric  stage.  B.  in  England  about 
1660. 

Abencerages.  Cherubini's  three- 
act  opera  to  French  book  by  Jouy,  was 
first  performed  at  the  Opera,  Paris, 
before  Napoleon,  April  6,  1813.  It 
deals  with  the  destruction  of  that 
celebrated  princely  family  by  order  of 
the  sovereign  of  Granada. 

Abendglocke.     Qer:     Curfew. 

Abendlied.     Oer.    Evening  song. 

Abendmusik.   Oer.  Evening  music. 

Abendstancben.      Oer.     Serenade. 

A  Bene  Placito.     It.    At  pleasure. 

Abenhamet  e  Zoraide.  Giuseppe 
Niecolini's  opera  to  Italian  text,  deal- 
ing with  the  destruction  of  the  Aben- 
cerages, was  first  presented  at  Milan, 
1805. 

Abenbeim  (Josepb)  directed  Stutt- 
gart royal  orchestra,  1854  to  1888; 
composed  for  voice,  piano,  and  orches- 
tra.   B.  Worms,  1804. 

Abert  (Jobann  Josef)  composed 
many  German  operas,  including 
"  Anna  von  Landskron,"  "  Koenig 
Enzio,"  "Astorga,"  "Ekkehard,"  "Die 
Almahaden";  a  symphony  in  C  minor, 
etc.;  became  chapelmaster  at  Stutt- 
gart, 1867.  B.  Koehowitz,  Sept.  21, 
1832. 

Abgeben.     Oer.    To  retire. 

Abgesang.     Oer.    Refrain. 

Abgestessen.  Oer.  Staccata, 
detached. 

Ablasen.  Oer.  To  sound  a  trumpet 
call. 

Abkiirzen.    Oer.    To  shorten. 

Abkurzung.     Oer.    Abridgment. 

Abnehmend.     Oer.     Diminishing. 

Abos  (Geronimo)  taught  Aprile 
and  other  famous  singers;  composed 
seven  masses  and  other  church  music, 
and  the  operas  "La  Pupilla  e'l  Tutore," 


ABT 

"  La  Serva  Padrona,"  "  Ifigenia  in 
Aulide,"  "  Artaserae,"  "  Adriano," 
"Tito  Manlio,"  "  Creso,"  etc.  B. 
Malta,  about  1708;    d.  Naples,  1786. 

Abraham's  Opfer.  Peter  Joseph 
von  Lindpaintner's  or£|,torio,  first  sung 
at  Stuttgart,  1821,  won  its  conjposer 
a  gold  medal  from  Queen  Victoria. 

Abram  (Jobn)  composed  "  Jerusa- 
lem," a  cantata;  "Widow  of  Nain," 
an  oratorio,  etc. ;  officiated  as  organist 
in  many  English  churches.  B.  Mar- 
gate, Aug.  7,  1840. 

Abraiiis(Theodosia,  Harriet,  and 
Eliza)  sang  in  concerts  and  opera  in 
London  from  1775  to  1790.  The  eldest, 
Harriet,  who  composed  many  popular 
songs,  made  her  Drury  Lane  debut  in 
an  opera  by  her  teacher.  Dr.  Ame, 
when  only  15.    B.  1760. 

AbrS.n7i  (Kornel)  founded  the  first 
music  journal  in  Hungarian,  1866; 
promoted  and  taught  in  National 
Music  Academy,  Pesth.    B.  1822. 

Abrege.     Fr.    Abridgment. 

Abreger.  Fr.  To  shorten; 
TRACKER. 

Abruptio.  It.  Sudden  pause ; 
breaking  off. 

Absatz.     Oer,     Cadence. 

Abscbieds  (Farewell)  Sym- 
phonie.  Composed  by  Haydn,  1772, 
was  successful  in  obtaining  leave  of 
absence  for  his  musicians,  which  had 
been  refused  by  Prince  Eaterhazy. 
One  by  one  the  instruments  are  si- 
lenced, and  at  the  first  performance, 
each  musician,  on  reaching  the  end  of 
his  part,  extinguished  his  lamp,  and 
silently  left  the  concert  room. 

Abscbnitt.     Oer.     Section. 

Absetzen.  Oer.  Striking  two  keys 
in  succession  with  the  same  finger. 

Absolute.  Music  is  so  called  which 
does  not  pretend  to  descriptive  or 
illustrative  qualities,  as  distinguished 
from  "PROGRAMME"  music,  or 
opera. 

Abstammen.  Oer.  To  be  derived 
from. 

Abstufung.     Oer.     Shading. 

Abt  (Alfred)  conducted  at  German 
theatres  and  opera  houses.  B.  Bruns- 
wick, 1855,  son  of  Franz;  d.  GJeneva, 
April  29,  1888. 

Abt  (Franz)  -composed  "  When  the 


ABTONEIT  ^ 

Swallows  Homeward  Fly,"  and  more 
than  3000  other  songs ;  achieved  great 
success  as  chorus  conductor;  visited 
the  United  States  in  1872,  the  guest 
of  singing  societies,  conducted  jointly 
with  Gilmore.  Educated  at  the 
Thomas  School,  Leipsie;  made  chapel- 
master  in  1885  by  the  Duke  of  Bruns- 
wick; pensioned,  1881.  B.  Eilenburg, 
Dee.  22,  1819;  d.  Wiesbaden,  Mar.  31, 
1885. 

Abtonen.    Oer.    Off  key. 

Abu  Hassan.  C.  M.  von  Weber's 
comic  operetta  to  Gterman  text  by 
Hiemer,  was  first  presented  at  Munich, 
June  4,  1811;  later  in  French,  Italian, 
and  English  versions.  The  story, 
taken  from  the  "  Arabian  Nights,"  re- 
lates how  Abu  Hassan  and  Fatima,  his 
wife,  feign  death  to  extort  money 
from  Haroun  al  Raschid  and  Zobeide. 

Abyn^don  (Henry)  remembered 
as  the  friend  of  Sir  Thomas  More,  who 
wrote  his  epitaph;  was  organist  and 
cantor  of  Wells  Cathedral  from  Nov. 
24,  1447,  until  his  death,  Sept.  1, 
1497. 

Abwechselnd.  Ger.  Alternating, 
as  from  one  organ  manual  to  another. 

Abweichungf.     Ger.    Variant. 

Abzug.  Qer.  To  lift  bow  or  finger, 
or  slide  with  the  finger: 

Academie  de  Musique  exercised  a 
profound  influence  upon  French  music 
from  its  establishment,  1669,  by  let- 
ters patent  from  Louis  XIV,  its  pur- 
pose being  "  to  present  in  public  opera 
and  drama  with  music,  and  in  French 
verse."  Abb€  Perrin,  Robert  Cambert, 
and  the  Marquis  de  Sourden  were  the 
founders.  From  the  days  of  LuUy, 
Rameau,  and  Gluck,  the  institution 
has  fostered  the  growth  of  lyric 
drama.  It  always  received  a,  subsidy 
from  the  government.  The  various 
SUBSIDIZED  THEATRES  of  Paris, 
etc.,  are  described  in  their  modem 
aspect  under  that  title. 

AcadSmie  Spirituelle.  Fr.  Con- 
cert of  sacred  music. 

Academy  of  Ancient  Kusic  organ- 
ized in  London,  1710,  by  amateurs  and 
professionals  for  practice  and  study 
and  the  establishment  6f  a  library, 
was  disbanded  in  1792.  While  under 
direction  of  Dr.  Pepusch  the  choirs  of 


ACCELERANDO 

St.  Paul's  and  the  Chapel  Royal  sang 
at  its  concerts. 

Academy  of  DEusic  means,  property 
speaking,  an  organization  of  music 
teachers  and  performers,  such  as  the 
ROYAL  ACADEMY,  instituted  in 
London,  1824. 

Academy  of  Husic  (Brooklyn) 
completed  in  1908  at  a  cost  of  $1,200,- 
000,  raised  by  popular  subscription, 
replaces  the  older  building  destroyed 
by  fire  where  the  Thomas  concerts, 
operas,  etc.,  had  been  given.  It  in- 
cludes a  large  and  well-appointed 
stage  with  all  modern  accessories  for 
opera  and  drama,  a  symphony  hall, 
and  a  smaller  auditorium  for  chamber 
concerts. 

Academy  of  Kusic  (New  York) 
was  built  for  operatic  and  concert  pur- 
poses, which  it  admirably  fulfilled 
until  superseded  by  the  Metropolitan 
Opera  House.  The  first  structure, 
opened  in  1854,  burned  in  1866,  but 
was  rebuilt  1867. 

Academy  of  Vocal  liCusic  merged 
into  the  King's  Concerts  of  Ancient 
Music  after  1731,  was  formed  in  Lon- 
don by  Dr.  Pepusch,  Gates,  King, 
Green,  Gaillard,  and  Wesley,  and  gave 
subscription  concerts.  Bononcini, 
Geminiani,  and  other  distinguished 
musicians  were  members,  although 
Handel  does  not  appear  to  have 
been. 

A  or  Alia  Capella.  It.  "  In  church 
style,"  sung  without  accompaniment; 
also  used  for  ALLA  BREVE. 

A  Capriccio.  It.  At  the  perform- 
er's fancy. 

Acathistus.  Or.  Hymn  to  the 
Virgin  sung  in  the  Greek  Church  dur- 
ing Lent. 

Accademia.  It.  Academies  for 
the  cultivation  of  the  arts  and  sciences 
which  had  their  birth  in  the  Italian 
renaissance  were  of  great  service  in 
diffusing  knowledige.  The  earliest 
devoted  exclusively  to  music  were 
founded  in  Bologna,  1482,  and  in 
Milan,  1484. 

Accarezzevole.    /*.    Flatteringly. 

Accarezzevolmente.  It.  Caress- 
ingly. 

Accelerando  or  Accelerato.  It. 
Increase  the  speed. 


ACCEITT  t 

Accent  is  the  regularly  recurring 
special  stress  by  which  rhythm  is  de- 
fined. Normally  the  primary  accent  is 
given  the  first  note  to  the  right  of  the 
bar.  In  common  time  there  is  a 
secondary  or  sub-accent  to  the  third 
beat,  while  in  compound  time  lighter 
accents  are  given  the  first  of  each 
group  of  notes.  These  normal,  gram- 
matical, or  metrical  accents  may  be 
reversed,  producing  what  is  called 
SYNCOPATION,  a  device  to  which 
Beethoven  often  resorted.  Stress  for 
poetic  or  rhetorical  effect  is  given  by 
expression  signs  or  by  the  words  sfor- 
zando  or  tenuto,  or  by  binding  an  un- 
accented to  an  accented  chord. 

Accentor.    Leader  of  a  chorus. 

Accentuare.    It.    To  accent. 

Accentuation.  Emphasizing  cer- 
tain notes. 

Accentus  Ecclesiasticus.  L.  The 
system  by  which  singers  chanting 
church  music  governed  the  inflexions 
of  their  voices  on  reaching  commas, 
semicolons,  colons,  periods,  question 
marks,  etc.,  in  unnoted  service  books. 
There  were  seven  of  these  accents :  im- 
mutabilis,  medius,  gravis,  acutus, 
moderatus,  interrogativus,  and  finalis, 
each  having  its  proper  inflexion, 
though  usage  differed  in  various 
places. 

Accessisten.  Ger,  Volunteer  choir 
singers. 

Accessory  Movements.  Organ 
parts  not  directly  connected  with 
pipes. 

Acclaccatura.  It.  Short  appogi- 
atura;  ornament  obtained  by  striking 
the  note  next  below  that  carrying  the 
melody,  instantly  releasing  it,  and 
sustaining  only  the  melodic  note. 

Accidentals  are  the  sharps,  flats, 
and  naturals  employed  to  raise,  lower, 
or  restore  a  tone  independently  of  the 
signature,  or  sharps  and  flats  grouped 
after  the  clef  to  indicate  the  key. 

Accolade.  Pr.  Brace  connecting 
several  staves  of  a  score. 

Accommodare.  It.  Attuning  one 
instrument  to  accord  with  another. 

Aocompagnamento.  It.  Accom- 
paniment. 

Accompagnement.  Fr.  Accom- 
paniment. 


ACIS 

Accompaniment.  Part  or  parts 
added  to  the  principal  or  solo  passage 
to  enrich  or  sustain  it,  or  to  a  con- 
certed piece.  Those  styled  "ad  libi- 
tum "  may  be  wholly  omitted  at  dis- 
cretion. Those  called  "obbligato" 
must  be  performed. 

Accompanist.  One  who  plays  ac- 
companiments. 

Accoppiato.    It.    Coupled. 

Accord.  Fr.  The  notes  to  which  an 
instrument  is  tuned;    a  chord. 

Accord  a  I'Ouvert.  Fr.  Open 
strings. 

Accord  de  Sixte  Ajout€e.  Fr. 
Chord  of  the  Added  Sixth, 

Accordamento.    It.    In  tune. 

Accordanza.    It.    In  tune. 

Accordando.    It.    Tuning. 

Accordare.     It.    To  tune. 

Accordato.    It.    Tuned. 

Accordatura.    It.    Accord. 

Accorder.    Fr.    To  tune. 

Accordeur.    Fr.    Tuner. 

Accordion.  A  fine  reed  musical 
instrument  invented  by  Damian  of 
Vienna,  1829,  consisting  of  a  bellows 
vyith  metal  tongues  operated  by  but- 
tons played  with  either  hand,  and  lat- 
terly capable  of  the  chromatic  scale. 
The  principle  has  been  applied  to  the 
concertina  and  harmonium. 

Accordo.     /*.    Accord;    harmony. 

Aocordolr.    Fr.    Tuning  key. 

Accresciuto.     It.    Augmented. 

Acetabulum.  L.  Instrument  of 
I)ercussion  anciently  made  of  earthen- 
ware and  struck  with  a  rod. 

Achromatic.   Opposed  to  chromatic. 

Achtelnote.    Ger.    Quaver. 

Achtelpause.     Ger.    Quaver  rest. 

A  Chula.  Port.  Dance  resembling 
the  fandango. 

Ach  Gott  Tom  Himmel.  Luther's 
hymn,  a  paraphrase  on  Psalm  xi,  pub- 
lished in  1524,  retains  great  popular- 
ity in  Germany,  where  it  is  still  sung 
to  the  melody  as  given  in  the  Erfurdt 
Enchiridion.  Mozart  makes  use  of 
that  chorale  in  the  finale  to  the  second 
act  of  his  "  Magic  Piute." 

Acis  and  Galatea.  Handel's  pas- 
toral opera  or  masque,  to  text  by  Gay 
with  lyrics  by  Dryden,  Pope,  and 
Hughes,  was  probably  composed  at 
Cannons  in  1720,  and  first  performed 


A  CINQUE  6  ACT 

there  the  following  year.  In  1788  ments  as  the  flute  give  overtones  in  the 
Mozart  rescored  the  work  for  Van  ratios  of  1,  2,  3,  and  4.  The  overtones 
Swieten.  of  a  closed  pipe  are  in  the  ratio  1,  3, 
A  Cinque.  Fr.  In  five  parts.  5,  7,  and  this  ratio  governs  in.  the  case 
Acoustics  is  the  science  which  deals  of  clarinets,  which  are  closed  at  one 
with  sound  and  the  laws  which  govern  end  by  the  mouthpiece.  The  complete 
it.  When  a  tuning  fork  is  struck  the  series  of  overtones  are  given  by  brass 
vibrations  of  its  prongs  may  be  seen  instruments,  and  the  tones  are  further 
and  felt.  Corresponding  vibrations  or  modified  in  quality  by  the  form  of  the 
sound  waves  are  set  up  in  the  air,  by  tube,  the  bell,  etc.  Computation  of  the 
which  they  are  communicated  to  the  number  of  vibrations  required  for  a 
ear,  which  in  turn  conveys  the  sensa-  given  tone  has  been  made  simple  and 
tion  of  sound  to  the  brain.  If  the  fork  certain  by  the  toothed  wheel  and  the 
be  struck  violently  the  AMPLITUDE  siren,  and  it  has  been  established  that, 
of  VIBRATION  and  consequently  the  to  the  average  human  ear,  appreoia- 
intensity  of  the  sound  will  be  greater  tion  of  pitch  begins  with  vibrations  of 
than  if  struck  gently,  but  until  the  from  eight  to  32  per  second,  and  ends 
vibrating  prongs  have  returned  to  rest  with  40,000  vibrations  per  second, 
the  sound  waves  set  in  motion  will  be  The  octave  of  any  tone  may  be  obtained 
periodic  and  of  uniform  length.  If  the  by  doubling  the  number  of  vibrations 
fork  indicate  a'  of  French  or  Interna-  by  which  it  is  produced.  Other  pro- 
tional  pitch,  these  sound  waves  will  be  portions  need  not  be  given  here  be- 
propagated  at  the  rate  of  435  per  cause,  with  this  exception,  in  equal 
second.  The  essential  of  sound.  By  TEMPERAMENT  (whereby  the  oc- 
which  we  have  come  to  mean  musical  tave  is  divided  into  twelve  nearly  equal 
tone  as  distinguished  from  mere  noise,  semitones)  there  are  no  true  intervals, 
is  regularity  of  vibration,  and  whether  In  theory  the  intensity  of  sound  dimin- 
the  sound  wave  is  set  in  motion  by  ishes  with  the  inverse  square  of  the 
an  elastic  string  as  when  open  A  is  distance  from  its  source,  but  this  loss 
sounded  on  the  violin;  by  a  reed,  as  of  the  volume  of  tone  is  counter- 
when  A  is  intoned  on  the  oboe;  by  an  acted  by  the  use  of  sounding  boards 
enclosed  column  of  air,  as  in  the  case  and  resonators.  Volume  of  tone  in 
of  an  organ  pipe;  a  given  number  of  musical  instruments  is  often  magni- 
vibrations  per  second  will  always  pro-  fied  in  the  same  manner.  A  violin 
duce  a  tone  of  the  same  pitch.  The  string  in  vibration  sounds  faint  in 
quality  of  a  given  tone  sounded  by  itself,  but  the  vibrations  are  com- 
various  instrimients  or  voices  shows  municated  to  the  belly  of  the  instru- 
wonderful  variety,  however,  due  the  ment  by  the  bridge,  and  to  the  back  by 
fact  that,  in  addition  to  the  principal  the  sounding  board,  and  the  tone  is 
tone  sounded,  which  alone  is  audible  thus  made  louder.  Sound  waves  travel 
under  ordinary  circumstances,  higher  in  air  at  the  rate  of  1090  feet  per  second 
and  softer  tones  appropriately  called  at  32  P.  and  between  one  and  two  feet 
"  overtones  "  or  "  upper  partials  "  are  faster  per  second  with  every  additional 
almost  invariably  produced,  blending  degree  of  warmth.  They  traverse 
with  the  principal  tone  and  modifying  water  at  the  rate  of  1435  feet  per 
its  quality.  Thus  when  an  open  string  second,  iron  at  the  rate  of  5030 
is  set  in  vibration  it  produces  a  prin-  feet  per  second.  They  may  be  re- 
cipal  tone,  high  or  low,  in  proportion  fleeted  as  light  waves  are,  producing 
to  its  length,  size,  and  tension,  but  the  the  phenomena  of  echoes  and  whisper- 
string  divides  itself  into   several  vi-  ing  galleries. 

brating  segments,  separated  by  nodes  Act.    Natural  division  in  the  drama 

or  spots  of  minimum  vibration,  and  was  effected  by  the  Greek  chorus,  but 

these  segments  vibrating  twice,  four,  in  the  time  of  Horace  the  Act  had 

or  six  times  as  rapidly  as  the  entire  come  to  be  one  of  five  divisions  of  a 

string,  produce  the  harmonics  called  play,  each  more  or  less  complete,  and 

overtones.      Such    open    pipe    instru-  with  its  own  climax.  Wagner  favoured 


ACTE  ' 

a  three-act  division  in  opera,  the  num- 
ber generally  adhered  to  in  German 
and  Italian  operas.  There  are  usually 
five  acts  to  French  classic  operas.  In- 
stances of  oner  and  two-act  operas  are 
to  be  found,  however,  in  every  national 
school. 

Acte  de  Cadence.  Fr,  Chords  in- 
troducing a  cadence. 

Action.  MecJianism  affecting 
strings,  pipes,  or  stops  of  an  instru- 
ment, and  operated  by  the  keyboard. 

Actinophone.  An  instrument  pro- 
ducing sound  from  actinic  rays. 

Act  Husic.  Cantatas  composed  for 
special  occasions  at  Oxford  by  pro- 
fessors of  music,  to  words  by  profes- 
sors of  poetry. 

Acton  (T.  B.)  composed  vocal  music 
and  taught.    B.  Manchester,  1863. 

Act  Tune.  Light  music  played  be- 
tween acts  in  the  theatre. 

Acuite.    jPV.    Acuteness. 

Acuta.    It.    Sharp. 

Acuta.  L.  Shrill  pitched  organ 
stop. 

Acuta.  Accent  employed  in  Greek 
notation. 

Acuta?  Claves.  L.  Tones  between 
a  and  A. 

Acuteness.  Tones  having  a  larger 
number  of  vibrations  are  called  acute 
as  distinguished  from  those  having 
less,  which  are  called  grave. 

Adagietto.  It.  Slightly  faster 
than  adagio;   a  diminutive  adagio. 

Ada,gio.  It.  Very  slow;  gives 
name  to  movements  of  symphonies, 
etq.;  Assai  or  Di  IVEolto,  extremely 
slow;  Cautabile,  in  singing  style; 
£atetit!p,  with  pathos;  Fesante, 
weightily;  Sostenuto,  in  a  sustained 
manner. 

Adam  (Adolphe  Charles)  com- 
posed the  POSTILION  OF  LONG- 
JUMEAU,  the  NTJKEMBURG  DOLL, 
and  other  comip  operas  highly  success- 
ful in  their  day,  taught  composition  at 
the  Conservatoire,  collaborated  with 
his  teacher  Boieldieu  in  his  DAME 
BLANCHE,  lost  a  fortune  in  attempt- 
ing to  establish  a  Theatre  National, 
composed  delightful  ballet  music,  but 
failed  in  grand  opera.  Born  in  Paris, 
July  24,  1803,  son  of  LOUIS,  a  piano 
tjeacher  at  the  Conservatoire,  he  was 


r  ADA3C 

only  permitted  to  take  lessons  on 
promising  his  father  never  to  write  for 
the  stage.  He  studied  organ  with 
Benoist,  counterpoint  with  Bier  and 
Reicha;  but  so  far  was  he  from  keep- 
ing his  early  promise  that  he  engaged 
as  triangle  player  at  the  Gymnase  in 
order  to  master  the  technique  of  the 
stage.  It  was  at  Boieldieu's  suggestion 
that  he  devoted  himself  to  comic  opera. 
"  Pierre  et  Catherine,"  his  operetta, 
was  produced  at  the  Op6ra  Comique, 
1829,  and  the  next  year,  "Danilowa." 
Other  works  speedily  followed,  includ- 
ing "Le  Chalet,"  "Le  Brasseur  de 
Preston,"  "  Le  Roi  d'Yvetot,"  "  Cagli- 
ostro,"  "Richard  en  Palestine,"  and 
the  ballets  "  Faust,"  "  La  jolie  flUe  de 
Gand,"  and  "  Giselle."  Adam's  failure 
as  manager  may  have  been  due  the 
Revolution  of  1848,  which  broke  out 
less  than  a  year  after  his  opening. 
Five  years  of  his  life  were  manfully 
given  to  paying  debts  incurred  in  this 
disaster,  and  during  this  period  he 
wrote  reviews  and  stories  for  the  news- 
papers. He  became  a  member  of  the 
Institute  in  1844,  was  made  professor 
at  the  Conservatoire,  1849,  died  May 
3,  1856. 

Adam  (Louis)  taught  Kalkbren- 
ner,  the  Harolds,  Le  Moine,  Chalieu, 
his  own  son  "Charles  Adolphe,  while 
professor  iat  the  Paris  Conserva- 
toire, wrote  "  Mgthode  de  Doigt€ " 
and  "Mgthode  Nouvelle  pour  le 
Piano  " ;  was  a  distinguished  pianist, 
though  self  taught.  B.  Muttershols, 
Alsace,  Dec.  3,  1758;  d.  Paris,  April 
11,  1848. 

Adam(de  Eulda)  composed  motets, 
and  in  1490  wrote  a  tract  published 
in  "  Scriptores  eccles.  de  Mus.  Sacr." 
(Gerbert  von  Hornan),  wherein  he 
praises  Guilielmus  Dujay  as  the  first 
to  compose  in  formal  style.  B.  1450; 
Franoonian  monk. 

Adam  (de  la  Hale)  wrote  "  Le  jeu 
de  la  feuillfe,"  performed  at  Arras, 
Prance,  1262,  and  "  Le  jeu  de  Robin  et 
Marion,"  performed  at  Naples,  1285, 
now  regarded  as  the  earliest  types  of 
comic  opera.  The  last  named  .work, 
revived  at  Arras  in  June,  1896,  at  the 
f  gtes  in  honour  of  his  memory,  has  been 
lately  published  with  a  modem  aceom- 


ADAlffBEBOEB 

paniment  for  the  songs.  In  1872 
Adam's  entire  works  were  republished 
by  Coussemaker,  including  a  number 
of  chansons  of  which  he  had  written 
both  words  and  music.  Destined  for 
the  church,  Adam  was  drawn  away 
for  a  time  by  a  pretty  girl  named 
Marie,  but  in  1263  he  took  the  habit  in 
Douai,  where  he  doubtless  remained 
until  1282,  when  he  accompanied  the 
French  army  sent  against  Naples. 
B.  Arras,  1230;    d.  Naples,  1288. 

Adamberger  (Valentin)  sang  ten. 
and  acquired  fame  as  a  vocal  teacher, 
and  was  the  friend  and  adviser  of  Mo- 
zart, who  wrote  the  r5le  of  Belmonte 
for  him.  B.  Munich,  July  6,  1743;  d. 
Vienna,  Aug.  24,  1804. 

Adami  da  Bolsena  (Andrea)  wrote 
a  history  of  the  Papal  chapel,  "  Osser- 
vazloni  per  ben  regolare  il  Coro  dei 
Cantori  della  Cappella  Pontiflcia." 
B.  Bolsena,  Italy,  Oct.,  1663;  d.  Rome, 
July  22,  1742. 

Adamowski  (Joseph)  plays  'cello 
in  quartet  organized  by  his  brother 
Timothge.  B.  Warsaw;  joined  Boston 
Symphony  Orchestra;  m.  Antoinette 
Szumowska;  add.  Boston.  TimothSe 
organized  the  Adamowski  String  Quar- 
tet in  Boston,  1888,  came  to  America 
as  solo  violinist  to  Clara  Louise  Kel- 
logg, 1879,  later  toured  ^ith  own  com- 
pany, played  with  Boston  Symphony 
Orchestra,  teaches  New  England  Con- 
servatory, and  composes.  B.  Warsaw, 
March  24,  1858;    add.  Boston. 

Adams  (Thomas)  composed  church 
music;  organist  Carlisle  Chapel,  Lam- 
beth. B.  London,  Sept.  5,  1785;  d. 
Sept.  15,  1858. 

Adcock  (Tames)  published  "The 
Rudiments  of  Singing"  and  many 
glees;  master  of  Choristers,  King's 
College,  Cambjidge.  B.  Eton,  Eng., 
July  29,  1778;   d.  April  30,  I860. 

Addison  (John)  composed  music  to 
"  The  Sleeping  Beauty "  and  other 
light  operas;  played  'cello  and  double- 
bass;  taught  singing.  B.  Eng.,  1766; 
d.  Jan.  30,  1844. 

Additato.  /*.  With  fingering 
added. 

Additional  Accompaniments  have 
been  written  for  much  of  the  music 
of    the    older    masters    because    they 


8  ABKIEN 

often  here  resorted  to  figured  basa,  and 
to  keep  pace  with  changes  in  the 
orchestra. 

Additional  Keys  are  those  em- 
ployed to  enlarge  an  instrument's 
original  compass. 

Addolorato.    /*.    Sadly. 

A  Demi  Jeu.  Fr.  Half  the  instru- 
ment's capacity  in  volume. 

A  Deux  Hains.  Fr.  For  two 
hands. 

A  Deux  Temps.  Fr.  Common  time. 

Adiaphonon,  invented  in  1820  by 
Schuster,  of  Vienna,  is  a  piano  with 
metal  bars  instead  of  strings,  which 
remain  permanently  in  tune. 

Adirato.     /*.    Angrily. 

Adjunct   Notes.     AUXILIARIES. 

Adler  (Guide)  became  professor  of 
music,  University  of  Vienna,  1898, 
succeeding  Hanslick;  edited  Fro- 
berger  anew,  1903;  editor-in-chief 
"  Denkmaler  der  tonkunst  in  Oster- 
reich "  since  1894.  B.  Eibenshiitz, 
Moravia,  Nov.  1,  1855;   add.  Vienna. 

Adlgasser  (Anton  Cajetan)  was 
attached  to  Salzburg  Cathedral,  cele- 
brated as  organist  and  contrapuntist. 
B.  Inzell,  Bavaria,  April  3,  1728;  d. 
Dec.  21,  1777. 

Ad  Iiibitum.    L.    At  pleasure. 

Adlung  (Jacob)  wrote  valuable 
books  on  the  organ,  which  instrument 
he  played  and  taught.  B.  Binders- 
leben,  Erfurt,  Jan.  14,  1699;  d.  July 
5,  1762. 

Adolfatl  (Andrea)  composed  much 
church  music  and  many  operas,  "  La 
Clemenza  di  Tito,"  "  L'Artaserse,"  etc., 
and  conducted  in  Venice  and  Genoa. 
B.  Venice,  1711. 

Adornamento.  /*.  Adornment  or 
grace. 

Ad  Placitum.  L.  Free  part  added 
to  strict  canon. 

Adrien  or  Andrien  (Iffartin  Jo- 
seph"l'aing")  sang  bass  at  the  Paris 
Op6ra  from  1785  to  1804,  and  com- 
posed "Hymn  a  la  Viotoire,"  etc., 
chorusmaster  at  the  Op6ra  and  teacher. 
B.  Liege,  May  26,  1767;  d.  Nov.  19, 
1824.  His  brother  published  collec- 
tion of  songs  in  Paris  about  1802, 
and  Ferdinand,  a  second  brother,  com- 
posed songs  and,  from  1798  to  1800, 
was  choirmaster  at  the  Op6ra, 


A  BTTE  9 

A  Due.  /*.  Indicates  on  a  score 
where  two  parts  for  voices  or  instru- 
ments are  on  one  stave  they  sound  in 
unison.  A  division  is  indicated  by  the 
term  DIVISI;  Corde,  for  two  strings; 
Stromenti,  two  instriunents;  Voci, 
two  voices. 

A  Dur.    Qer.    A  major. 

Aelsters  (Georges  Jacques)  wrote 
much  church  music,  including  "Mis- 
erere," still  used;  directed  at  St.  Mar- 
tin's, Ghent,  fifty  years.  B.  Ghent, 
1770;   d.  April  11,  1849. 

Aengstlich.    Qer.    Timidly. 

Aeolian  Harp  first  described  in 
Kircher's  Musurgia;  is  an  instrument 
acted  on  by  the  wind,  hence  named  for 
Aeolus,  the  wind  god,  possibly  in- 
vented by  Kircher.  Six  or  more 
strings  are  attached  to  a  shallow 
wooden  box  to  give  resonance,  passed 
over  bridges  and  tuned  in  unison,  and 
these,  set  in  vibration  by  air  currents 
passing  over  them,  give  the  tones  of  an 
open  string  with  its  harmonics  or  over- 
tones, shifting  with  the  pressure,  and 
of  wonderfully  sweet,  pure  quality. 

Aeolian  SCode  was  fifth  in  the 
series  of  MODES  of  the  GREGORIAN 
system. 

Aeolian  Organ  is  one  equipped 
with  the  mechanical  device  for  auto- 
matic playing  on  the  principle  of  the 
PIANOLA,  in  which  the  performer 
largely  controls  expression  and  tempo 
and  stops.  The  keys  are  operated 
through  the  action  of  a  bellows  at- 
tachment and  by  means  of  rolls  of 
paper  with  perforations  for  the  notes. 

Aeolina  or  liffouth.  Organ  or  mouth 
harmonica,  invented  by  Messrs.  Wheat- 
stone,  1829,  consists  of  metal  plates 
enclosing  free  reeds ;  a  favourite  musi- 
cal toy  with  children  in  all  countries. 

Aeolodion  or  Aeolodicon,  invented 
probably  by  Eschenbach  of  Hamburg, 
is  an  instrument  of  the  harmonium 
family  in  which  the  tone  is  produced 
from  steel  springs.  First  known  about 
1800,  it  has  been  variously  modified  as 
Aeolomelodicon  and  Choraleon,  but 
though  useful  for  accompanying  the 
voice,  has  become  obsolete. 

Aerts  (Egidius)  played  and  taught 
flute  at  the  Brussels  Conservatory; 
composed  for  orchestra  and  flute.    B. 


AFBICAINE 

teoom,  near  Antwerp,  Mar.  1,  1822; 
d.  Brussels,  June  9,  1853. 

Aequlsonae  Voces.  L.  Tones  and 
their  octaves  or  super  octaves. 

Aevia.  An  abbreviation  by  elision 
of  consonants  of  Alleluia  much  used  in 
ancient  church  music. 

AfCabile.    It.    Affable. 

Affannato.    /*.    Distressingly. 

Affannosamente.      Restlessness. 

Affannoso.    /*.    Sadly. 

Affetto,  con.    /*.    With  affection. 

Affettuoso.    /*.    With  feeling. 

Affinity.  Relative  connection,  as 
between  keys  of  aflinity. 

Affllard,  1'  (Michel)  wrote  a  valu- 
able work  on  sight  singing,  and  sang 
ten.  at  the  court  of  Louis  XIV  for  a 
quarter  of  a  century  beginning  1683. 

Afflizione.    It.    With  afiOiction. 

AfCrettando.  It.  Hurrying  with 
excitement. 

A  Fofa.  Port.  Portuguese  dance 
like  the  FANDANGO. 

Afranio  (Canon)  invented  the  bas- 
soon, according  to  best  authorities. 
B.  Pavia,  Canon  of  Ferrara,  16th 
century. 

Africain«.  Giacomo  Meyerbeer's 
opera  in  five  acts  to  text  by  E.  Scribe 
is  one  of  the  latest  of  that  master's 
works,  not  having  been  completed  until 
the  year  of  his  death,  although  begun 
1838,  and  was  first  performed  April  28, 
1865,  at  the  Acad€mie,  Paris.  ITie  pro- 
tagonist of  the  work,  which  is  pseudo- 
historic,  is  Vasco  da  Gama,  the  Portu- 
guese navigator.  The  curtain  rises  on 
the  royal  council  chamber  in  Lisbcm. 
Donna  Inez,  who  loves  Vasco,  has  been 
called  by  her  father.  Admiral  Diego,  to 
hear  that  her  hand  had  been  promised 
Don  Pedro,  a  counsellor  of  the  king's ; 
and  when  she  has  been  told  that  Vasco 
has  perished  at  sea,  she"  hurries  away, 
with  Anna,  her  maid,  just  as  the 
council  assembles.  Vasco  imexpectedly 
appears  before  the  council,  describes 
the  wreck  at  the  Cape  of  Storms,  which 
he  alone  survived,  and  begs  for  a  ship 
in  which  to  continue  his  explorations. 
Selika  and  Nelusko,  slaves  he  has  pur- 
chased in  Africa,  are  produced  as  evi- 
dence of  unknown  countries ;  but  they 
refuse  to  answer  questions;  Vasco 
quarrels  with  the  Grand  Inquisitore, 


AFBICAINE 


10 


AONESI 


and  is  thrown  into  the  prison  of  the 
Inquisition,  his  slaves  with  him.  Se- 
lika,  a  queen  in  her  own  country,  is 
loved  by  Nelusko,  who  tries  to  kill 
Vasco  but  is  prevented  by  Selika.  She 
then  tells  the  explorer,  how  her  island 
home  can  be  reached.  As  Vasco  ex- 
presses his  gratitude,  Pon  Pedro  and 
Inez  enter  with  his  pardon.  Diego  is 
commissioned  to  make  the  exploration 
Vasco  has  planned,  and  the  promise  of 
Inez  to  become  his  wife  was  the  condi- 
tion of  Vasco's  pardon.  Inez  suspects 
that  Vasco  loves  Selika,  and  to  prove 
her  suspicion  unfounded  he  presents 
Selika  to  her.  Nelusko  undertakes  to 
serve  Don  Pedro  as  pilot,  and  thus  in 
the  third  act  most  of  the  characters 
are  assembled  in  the  cabin  of  a  ship. 
Don  Alvar  warns  Pedro  that  Nelusko 
is  planning  treachery,  but  the  warning 
is  not  regarded.  A  typhoon  arises.  Ne- 
lusko turns  the  vessel  toward  his  na- 
tive coast,  but  just  then  a  strange 
vessel  is  sighted.  Vasco,  who  has 
hurried  after  the  fleet  commanded  by 
Pedro,  knowing  the  danger  of  the  spot, 
comes  aboard  to  warn  his  enemy  of  his 
peril,  hoping  to  save  Inez.  Pedro 
orders  his  unfortunate  rival  to  be  tied 
to  a  mast  and  shot.  Selika  threatens 
unless  Vasco's  life  is  spared  to  kill 
Inez,  but  she  is  overpowered.  Just 
then  the  tempest  breaks,,  and  before 
they  have  recovered  from  the  panid  it 
occasions  the  vessel  is  overrun  by  sav- 
ages. They  recognize  their  queen  in 
Selika,  and  are  restrained  with  diflS- 
culty  from  murdering  the  entire  crew. 
The  coronation  of  Selika  takes  place  in 
the  fourth  act.  The  Brahmins  demand 
the  lives  of  the  strangers,  but  to  save 
Vasco,  Selika  swears  he  is  her  hus- 
band, a  statement  which  Nelusko,  who 
loves  her  more  than  he  hates  Vasco, 
confirms.  Vasco  vows  eternal  fidelity 
to  her,  but  hearing  the  voice  of  Inez, 
whom  he  believed  dead,  betrays  his 
love  for  the  queen's  rival.  ■  In  the  last 
act  Selika  has  determined  to  put  Inez 
to  death,,  but  relents  on  learning  how 
she  loves  Vasco,  and  directs  Nelusko  to 
put  Inez  and  Vasco  aboard  a  ship  and 
send  them  home. .  Unable  to  survive 
the  absence  of  the  man  she  adores, 
Selika  watches   the   ship   sail   away 


from  beneath  the  shade  of  the  deadly 
Hanzanilla  tree,  and  as  Nelusko  comes 
to  her  she  dies,  and  her  faithful  ser- 
vant dies  with  her.  The  original  caste 
was:  Selika,  Marie  Saxe,  sop.;^  Inez, 
Marie  Batte,  sop. ;  Anna,  con.;  Vasco, 
Naudin,  ten.;  Nelusko,  Faure,  bass; 
Don  Pedro,  Belval,  bass;  Don  Diego, 
bass;  Don  Alvar,  bass;  High  Priest, 
Obin,  bass;  Grand  Inquisitore,  bass. 
The  principal  musical  numbers  are: 
Act  I :  "  Del  Tago  sponde  addio," 
Inez;  "Tu  che  la  terra  adora,"  and 
"Ribelle,  insolente,"  chorus;  Act. II: 
"In  grembo  a  me"  (slumber  song), 
Selika;  "Tranquillo  e  gia,"  Vasco; 
"  Figlia  dei  Ke,"  Nelusko;  finals,  sex- 
tet; Act  III:  "Adamastor,  re  dell' 
onde  profondo,"  Nelusko;  Act  IV:.  "O 
Paradiso,"  Vasco;  "Dove  son,"  Vasco 
and  Selika;  Act  V:  "Da  qui  io  vedo 
il  mar,"  "  O  tempio  sontuoso,"  "  O 
douce  extase,"  Selika. 

Af zelius  (Arvid  August)  collected 
valuable  material  regarding  Swedish 
national  music,  edited  "  Svenska  Folk- 
visor  "  with  Geijer,  and  wrote  his- 
torical notes  to  "  Afsked  af  Svenska 
Folksharpan."  B.  Enkoping,  May-  6, 
1785;    d.  Sept.  25,  1871. 

Agazzari  (Agostino)' wrote  on  mu- 
sical reforms  demanded  by  Coimcil  of 
Trent;  composed  masses  and  madri- 
gals; chapelmaster  Sienna  Cathedral. 
B.  Dec.  2,  1578,  Sienna;  d.  April  10, 
1640.  f. 

Agevole.    It.    With  agility. 

Agevolezza.    It.    Lightly.. » 

Aggraver  la  Fugue.  Fr.  Aug- 
menting the  fugue.  , 

Agilita,  con.    It.    With  agility. 

Agilite.  Fr.  Perform  with  light- 
ness and  freedom.  ' 

Agilmeate.    /*.     In  lively  style. 

Agitato.    It.    KestlesB,  agitated. 

Agitazione,  con.  It.  With  agita- 
tion. 

Agnesi  QLouiB  Ferdinand  Leo- 
pold) composed  the  opera  "  Harold  le 
Norman "_  and,  on  its  failure,  distin- 
guished himself  as  bass  singer  in  opera 
and  oratorio.  B.  at  Erpent,  Namur, 
July  17,  1833  (real  name  Agniez) ;  d. 
London,  Feb.  2,  1875. 

Agnesi  (Haria  Theresa)  composed 
five  operas,  several  cantatas,  and  much 


AGITTTS  DEI 


11 


AHLE 


piano  music.  B.  Milan,  1724,  sister  of 
Maria  Gaetana;   d.  1780. 

Agnus  Dei.  L.  "  Lamb  of  God," 
is  part  of  the  music  of  the  MASS. 

Agostini  (Xiudovico)  wrote  music 
and  words  of  madrigals  and  other 
vocal  works;  chapelmaster  to  the 
Duke  of  Este.  B.  Ferrara,  1534 ;  d. 
Sept.  20,  1590. 

Agoge.  Or.  Term  applied  to  writ- 
ing melody  by  the  Greeks,  and  relat- 
ing to  the  succession  and  pitch  of  the 
tones;  Khythmica,  succession  of 
tones  in  melody  as  to  rhythm  and 
accent. 

Agostini  (Paolo)  composed  church 
music,  directed  at  the  Vatican  Chapel ; 
played  organ  at  many  Boman  churches. 
B.  Valerano,  1593;  d.  Rome,  Sept. 
1629. 

Agostini  (Fietro  Simone)  com- 
posed operas,  cantatas,  and  oratorios; 
chapelmaster  to  the  Duke  of  Parma. 
B.  Rome,  1650. 

Agranxonte  (Emilio)  taught  vocal 
music,  lectured,  composed  a  "  Stabat 
Mater."  B.  Puerto  Principe,  Cuba, 
Nov.  28,  1844;  educated  in  Europe; 
add.  since  1868,  New  York. 

Agrell  (iTohann  •Toachim)  com- 
posed concertos  and  sonatas;  court 
musician  at  Cassel  and  conductor  at 
Nuremberg.  B.  Loth,  Sweden,  Feb.  1, 
1701;    d.  Nuremberg,  Jan.  19,  1765. 

A  Grand  Choeur.  Fr.  For  grand 
chorus. 

A  Orand  Orchestre.  Fr.  For  grand 
orchestra. 

Agremens.  Fr.  Grace  notes,  trills, 
turns,  and  other  embellishments  indi- 
cated by  small  notes  or  signs. 

Agricola  (Alexander)  composed 
church  music,  much  of  which  is  still 
in  manuscript;  symphonist  to  King 
Philip  of  Spain.  B.  Belgium,  1446; 
d.  Valladolid,  1506. 

Agricola  (George  Ludwig)  com- 
posed "  Musikalische  Nebenstimden"; 
chapelmaster  at  Gotha.  B.  Grossen- 
Furra,  Thuringia,  Oct.  25,  1643;  d. 
Gotha,  Feb.  20,  1676. 

Agricola  (Johann)  composed  three 
collections  of  motets,  taught  in  Erfurt 
Gymnasium.    B.  Nuremburg,  1570. 

Agricola  (Johann  Friedrlch)  com- 
posed   for    Frederic    the    Great    of 


Prussia,  whose  music  he  arranged; 
studied  under  Sebastian  Bach;  wrote 
on  musical  science  and  aesthetics.  B. 
Jan.  4,  1720,  Dobitz,  Saxony;  d.  Ber- 
lin, Dec.  1,  1774. 

Agricola  (lEartin)  wrote  impor- 
tant books  on  musical  science  and 
concerning  the  conflict  between  tne 
old  and  modem  systems  of  notation; 
sang  and  taught  in  Madgeburg's  first 
Protestant  school.  B.  1500,  Sorau, 
Lower  Silesia;  d.  June  10,  1556, 
Madgeburg. 

Agricola  (Wolfgang  Christoph) 
composed  motets  and  masses  and 
"  Fasciculus  Musicalis,"  17th  century. 

Agthe  (Carl  Christian)  composed 
six  operas,  songs,  and  sonatas ;  played 
organ.  B.  Hettstadt,  1762 ;  d.  Ballen- 
stedt,  Nov.  27,  1797. 

Agthe  (W.  J.  Albrecht)  taught 
music  in  Berlin  and  other  cities,  num- 
bering Kullak  among  his  pij|)ils.  B. 
Ballenstedt,  April  14,  1790;  son  of 
Carl  Christian;  d.  Berlin,  Oct.  8, 
1873. 

Aguado  (Dionisio)  wrote  an  excel- 
lent method  for  gilitar  and  much 
music  for  that  instrument,  on  which 
he  was  a  virtuoso.  B.  Madrid,  April 
8,  1784;  pupil  of  Garcia;  d.  Deo.  20, 
1849,  Madrid. 

Aguilera  de  Heredia  (Sebastian) 
composed  Magnificats  for  from  four 
to  eight  voices  still  sung  in  Spanish 
churches;  directed  music  at  Sara- 
gossa  Cathedral.  Spanish  monk,  17th 
century. 

Agujari  (Lucrezia),  called  "La 
Bastardina  "  or  "  Bastardella,"  pos- 
sessed the  extraordinaiy  range  of 
three  octaves  from  middle  C,  sangf  in 
opera  with  great  success,  winning  high 
praise  from  Mozart,  and  at  the  Pan- 
theon concerts,  receiving  $500  for  two 
songs  when  in  her  prime,  "  the  highest 
price  for  the  highest  tones "  of  her 
generation.  B.  Ferrara,  1743,  studied 
under  Abbe  Lambertini;  debut,  Flor- 
ence, 1764;  married  Colla,  the  com- 
poser, 1780;   d.  May  18,  1783,  Parma. 

Able  (Johann  Rudolph) 'composed 
church  music,  the  hymn  "Liebster  JesU 
wir  sind  hier"  still  popular  in  Thu- 
ringian  Protestant  churches;  wrote  a 
successful  book  on  singing.    B.  Miihl- 


AHLSTBOEM 


12 


AIDA 


hausen,  Dec.  24,  1625;  d.  July  8,  1673. 
Johann  Georg  composed  hymns  and 
was  poet  laureate  to  Emperor  Leo- 
pold I.  B.  1650;  son  of  JOHANN 
RUDOLPH;    d.  Dec.  2,  1706. 

Ahlstroem  (Olof)  edited  collection 
of  Swedish  folk  music,  composed  and 
played  organ.  B.  Aug.  14,  1756, 
Sweden;   d.  Aug.  11,  1835. 

Ahna,  de  (Heinrich  Karl  Her- 
mann) led  the  Berlin  royal  orchestra, 
taught  in  the  Hochshule  and  played 
second  violin  in  Joachim  quartet.  B. 
June  22,  1835,  Vienna;  d.  Nov.  1,  1892, 
Berlin. 

Ahna,  de  (Eleanora)  sang  mez. 
sop.  rSles  at  Berlin  opera.  B.  Jan.  8, 
1838;   d.  May  10,  1865. 

Aiblinger  (Johann  Caspar)  failed 
with  his  only  opera,  "  Rodrigo  e 
Chimene,"  but  composed  church  music 
still  popular  with  Catholics  of  south- 
em  G^many;  conducted  Munich 
opera,  1823;  collected  ancient  classic 
music,  now  in  Munich  Bibliothek.  B. 
Feb.  23,  1779,  Wasserburg,  Bavaria; 
d.  May  6,  1867. 

Aichinger  (Gregor)  composed 
church  music  in  the  Venetian  style. 
B.  1565;  entered  the  Church,  studied 
in  Rome;   d.  Jan.  21,  1628. 

Aida.  Giuseppe  Verdi's  four-act 
opera  to  words  by  Antonio  Ghislanzoni 
was  composed  at  the  request  of  the 
Khedive  of  Egypt  and  first  performed 
during  the  festivities  attending  the 
opening  of  the  Suez  Canal  at  the  Cairo 
Opera  House,  Dec.  24,  1871,  and  the 
following  year  at  Milan.  The  scene  is 
laid  in  Memphis  and  Thebes  in  the 
time  of  the  Pharaohs.  Ramfls,  High 
Priest  of  lais,  tells  Radames,  the 
Egyptian  general,  that  the  Ethiopians 
have  again  broken  into  revolt,  at 
which  the  soldier  rejoices,  for  he  hopes 
to  lead  the  army  to  victory  and  thus 
claim  as  reward  Aida,  an  Ethiopian 
captive  who  has  become  the  companion 
of  Amneris,  daughter  of  Egypt's  king. 
A  messenger  announces  that  the  Ethio- 
pians are  led  by  their  king  Amonasro, 
Ramfis  declares  that  Isis  has  chosen 
Radames  to  defend  the  country,  and 
the  young  general  is  taken  to  the 
temple  to  receive  the  consecrated  arms 
«nd  invoke  the  goddess'  blessing.    In 


the  next  act  Amneris,  by  pretending 
that  Radames  has  been  killed  in  battle, 
forces  Aida  to  confess  her  love,  but  as 
she  threatens  vengeance,  the  army  is 
heard  returning  in  triumph.     As  the 
victors  are  welcomed,  Aida  recognizes 
among    the    captives    Amonasro,    her 
father,  and  Ethiopia's  king.     Amon- 
asro warns  her  not  to  betray  his  rank, 
and,    despite   the    clamour   for    their 
death,    Radames    obtains    Pharaoh's 
promise  that  all  the  prisoners  shall 
live,  though  Amonasro  is  to  remain 
in  captivity  with  Aida.    Pharaolj,  an- 
nounces that  he  will  reward  Radames 
by  giving  him  Amneris.    In  the  third 
act,  Amonasro,  having  discovered  the 
mutual   love  of  Radames   and  Aida, 
forces  her  to  learn  from  Radames  the 
plan  of  his  next  campaign.    When  he 
has    done    this,    Amonasro    discovers 
himself,  and  urges  Radames  to  have 
recourse  to  flight,  the  only  outcome  of 
the  dilemma  into  which  he  has  been 
drawn.    Radames  agrees,  but  Amneris, 
who  has  been  praying  for  the  love  of 
Radames    in    a    nearby   temple,    sur- 
prises them,  and,  although  Amonasro 
and   Aida   escape,    Radames    remains 
captive  to  the  High  Priest.     In  the 
final  act  Radames  has  been  condemned 
as  a  traitor,  to  be  burned  alive,  but 
Amneris  offers  to  save  him  if  he  will 
renounce  Aida.     He  refuses,  and  the 
scene  changes  so  as  to  represent  not 
only  the  hall  of  judgment,  but  the  vault 
beneath  the  altar  in  which  Radames 
is  to  be  immured.    Aida  has  managed 
to   hide   herself   in   a   recess    of   the 
vault,  and  together  she  and  Radames 
bid  farewell  to  life.     In  the  temple 
above,  the  priests  are  chanting,  priest- 
esses are  dancing  the  sacred  rites,  and 
Amneris,   who   had   repented    of   her 
jealousy  and  tried  to  save  Radames 
when  it  was  too  late,  utters  a  prayer 
for  his  eternal  happiness.     The  best 
known  musical  numbers  are:    Act  I: 
"Ah   Celeste   Aida,"   Radames,   ten.; 
"Retorna  vincitor"  and  "Nvmii,pieta," 
Aida,  sop.;    Act  II:   "Alia  pompa," 
Amneris,    con.,    and    Aida;    "Questa 
assisa,"  Amonasro,  bar. ;  "  Gloria  sill' 
Egitto,"  tutti;    Act  III:  "O  cieli  az- 
aurri,"   Aida;    "Rivedro   le    foreste," 
Amonasro;     "  Fuggiam    gli    ardori." 


AiaXT 


13 


ALBBBT 


Aida;  Act  IV:  "Chi  ti  aalva,"  Am- 
neria,  "  Ohimfe  morir  mi  sento,"  Amne- 
ris ;  "  O  terra  addio,"  Eadames  and 
Aida. 

Aigu.    Fr.    Shrill,  acute. 

Aimon  (Famphile  Leopold.  Fran- 
Spis)  composed  "  Michel  et  Christine," 
performed  with  great  success  in  1821, 
six  other  operas,  much  chamber  music; 
conducted  Marseilles  theatre  orchestra 
at  17.  B.  L'Isle,  near  Avignon  Oct.  4, 
1779;   d.  Feb.  2,  1866,  Paris. 

Air.    Melody  or  tune. 

Ais.     Qer.    A  sharp. 

A'Kempis  (Nicholas)  composed 
three  books  of  symphonies  and  played 
organ  at  Ste.  Gudule's  church,  Brus- 
sels, 16^8. 

Akeroyde  (Samuel)  composed 
many  popular  English  songs,  17th 
century. 

Akkord.    Ger.    Chord. 

A  la.    Fr.    In  the  manner  of. 

Al,  AH',  Alia.  It.  In  the  manner 
of. 

Ala  (Oiovanni  Battista)  played 
organ  in  Milan  churches  and  com- 
posed operas  and  sacred  music.  B. 
Monza,  1580;    d.  1612. 

AJabiev  (Alexander  Nicolavich) 
composed  "  The  Nightingale,"  nearly 
100  songs,  vaudevilles.  B.  Aug.  30, 
1802,  Moscow;    d.  1852. 

Alard  (Delphin)  wrote  an  excel- 
lent "  Violin  School " ;  succeeded  Bail- 
lot  as  professor  of  violin  at  the  Paris 
Conservatoire,  1843;  was  among  the 
foremost  virtuosi  of  his  day.  B.  Bay- 
onne,  Mar.  8,  1815;  d.  Paris,  Feb.  22, 
1888. 

Alamoth.  Heb.  Biblical  music 
term  occurring  in  Fsalm  IxvHi,  and  of 
unknown  meaning. 

Alarum,  All  'Arm.  It.  A  call 
to  arms. 

Albani  (lUatbias)  made  violins 
modelled  on  those  of  Stainer,  whose 
pupil  he  was.  B.  Botzen,  1621;  d. 
Botzen,  1673.  Ilathlas  made  violins, 
the  best  of  which  nearly  equal  those 
of  the  Amatis,  with  whom  he  studied 
after  a  long  apprenticeship  with 
MATHIAS,  his  father.  B.  Botzen; 
d.  RiHne. 

Albani  (Marie  Ii.  C.  E.  Lajeu- 
nesse)  sang  sop.  in  opera  and  oratorio 


with  very  great  success,  her  rfiles 
varying,  from  Lucia  to  Isolde.  B.  Nov. 
1,  1850,  Chambly,  near  Montreal,  sang 
in  Cathedral,  Albany,  N.  Y.,  studied 
with  Duprez,  Paris,  Lamperti,  Milan; 
debut  in  "  Sonnambula  "  at  Messina, 
1870,  under  name  Albani,  suggested  by 
Lamberti;  m.  Ernest  Gye,  1878;  add. 
London. 

Albeniz  (Isaac)  wrote  "  The  Magic 
Opal,"  comic  opera,  1893,  "Enrico 
Clifford  "  and  "  Pepita  Jimenez,"  per- 
fumed at  Barcelona,  1894  and  1895; 
played  piano.  B.  May  29,  1861,  Com- 
prodon,  Spain. 

Albeniz  (Pedro)  conducted  music 
at  Cathedrals  of  San  Sebastian  and 
Logrono;  wrote  church  music  and 
book  of  solfeggi.  B.  Biscay,  1755; 
entered  the  Church;  d.  1821. 

Albeniz  (Pedrq)  wrote  piano 
method  in  use  at  Madrid  Conserva- 
toire, 70  piano  -  compositions,  and 
songs;  secretary  to  the  Queen  of 
Spain,  1847.  B.  Logrono,  April  14, 
1795 ;    d.  Madrid,  April  12,  1855. 

Albergati  (Count  Firro  Capacelli) 
composed  operas,  church  and  instru- 
mental music,  while  in  service  of  Em- 
peror Leopold  I.  B,  Bologna,  1663; 
d.  1735. 

Albert  (Heinrich),  "  Father  of  the 
Oerman  Lied,"  was  poet,  oirganist,  and 
composer,  and  aided  in  establishing 
Glerman  opera,  although  his  "  ComS- 
dien  Musik,"  as  well  as  the  "  Daphne," 
composed  by  his  uncle,  H.  Schtttz,  re- 
garded as  the  earliest  Oerman  operas, 
are  both  lost.  First  trained  in  music 
by  Schatz,  he  became  a  pupil  of  Sto- 
b^us  in  later  life.  "G-ott  des  Himmels 
und  der  Erden"  is  one  of  the  many 
hymns  still  sung  tos  which  he  wrote 
both  words  and  music,  and  his  secular 
songs,  published  under  royal  and  im- 
perial patronage,  were  widely-  <arcu- 
lated.  B.  Lobenstein,  Saxony,  June 
28,  1604;   d.  Oct.  6»  1651,  KSnigsberg. 

Albert  (Prince)  used  the  infiuen^e 
of  his  position  as  consort  to  Queeni  Vic- 
toria to  advance  the  cause  of  music  in 
every  way;  composed  songs,,  church 
music,  and  an  opera;  directed  the 
Ancient  Concerts;  introduced  many 
great  works  to  England,  among  them 
Schubert's  symphony  in  C,  and  Wag- 


ALBERT,  D> 


14 


ALDBICH 


ner's  "  Lohengrin."  B.  Roaenau,  Co- 
burg,  Aug.  26,  1819;  m.  Feb.  10,  1840; 
d.  Deo.  14,  1861. 

Albert,  d'  (Charles  Louis  Na- 
poleon) composed  dance  music,  was 
ballet  master  at  Covent  Garden,  and 
taught  dancing.  B.  Feb.  25,  1809 ;  son 
of  a  French  cavalry  captain;  d.  Lon- 
don, May  26,  1886.  Euggue  Francis 
Charles  composed  "  Der  Rubin," 
1893;  "Ghiamonda,"  1895;  "Gemot," 
1897;  "Die  Abreise,"  1898;  a  sym- 
phony, cantatas,  overtures,  piano  con- 
certos, and  chamber  music;  in  earlier 
life  was  regarded  as  one  of  the  greatest 
of  pianists.  Son  of  CHARLES  LOUIS 
NAPOLEON,  b.  Glasgow,  April  10, 
1864;  young  d' Albert  studied  first 
with  his  father,  then  with  Pauer, 
Stainer,  Prout,  and  Sullivan,  complet- 
ing his  technical  training  under  Liszt. 
In  1892  he  married  Teresa  Carreno, 
but  they  were  divorced  in  1895,  the 
year  in  which  d'Albert  accepted  the 
post  of  chapelmaster  at  Weimar. 
D'Albert  has  since  married  Hermine 
Fink,  the  singer.  "  Tragabaldas,"  or 
"  The  Borrowed  Husband,"  produced 
at  Hamburg,  Dec.  3,  1907,  his  comic 
opera,  was  a  flat  failure.  "  Tiefland," 
or  "  The  Lowland,"  a  serious  work 
of  the  realistic  school,  was  a  dis- 
tinct success  in  Berlin  later  in  the 
season,  and  was  repeated  in  Dresden, 
etc.  In  the  summer  of  1908  d'Albert 
began  an  Indian  opera  to  be  called 
"  Izeyl." 

Albertazzi  (Emma)  sang  con.  at 
Madrid,  Paris,  Milan,  and  London.  B. 
May  1,  1814;  maiden  name  Howson; 
m.  at  17 ;   d.  Sept.  25,  1847. 

Albert!  Bass.  An  accompaniment 
of  broken  chords  or  arpeggios  so  called 
from  its  reputed  inventor,  DOMEN- 
ICO  ALBERTI. 

Albert!  (Domenico)  played  piano, 
sang;  employed  the  bass  formula 
named  for  him;  pupil  of  Lotti.  B. 
Venice,  1707;   d.  Formio,  1740. 

Albion!  (SCarietta)  Rossini's  only 
pupil,  became  the  greatest  con.  singer 
of  the  last  century.  B.  Cesena,  Ro- 
magna,  Mar.  10,  1823;  debut  at  La 
Scala,  Milan,  1843;  m.  Count  A. 
Pepoli,  1854,  afterwards  residing  in 
Earis;   d.  June  23,  1894. 


Albrechtsberger  (Johann  Georg) 
taught  Beethoven,  Hummel,  Weigl, 
Eybler,  Mosel,  and  Seyfried;  court 
organist  and  director  at  St.  Stephen's, 
Vienna;  composed  and  wrote  on  the- 
ory. B.  Feb.  3,  1736,  Klosterneu- 
berg,  near  Vienna;  d.  Vienna,  Maj-. 
7,  1809. 

Albumblatt.     Ger.    Album  piece. 

Alceste.  Ghristoph  Willibald 
Gluck's  three-act  opera  to  book  by 
Calzabigi  was  first  performed  Dec.  16, 
1767,  at  Vienna.  The  "Epltre  D6di- 
catoire,"  in  which  Gluck  explains  his 
convictions  regarding  operatic  form,  is 
contained  in  this  work,  which  may  be 
said  to  mark  the  beginning  of  the  rev- 
olution against  degenerateltalian  form. 
The  work  was  given  in  Paris  in  1776, 
and  was  revived  in  that  city  in  1861, 
Mme.  Pauline  Viardot  singing  the 
leading  rSle. 

Alchymist.  Ludwig  Spohr's  opera 
to  text  by  Pfeififer,  founded  on  a  Span- 
ish tale  by  Washington  Irving,  was 
first  performed  at  Cassel  in  honour  of 
the  Elector's  birthday,  July  28,  1830. 

Alcock  (John)  composed  for  vocal, 
harpsichord,  and  church  music;  or- 
ganist and  chorusmaster,  Litchfield 
Cathedral.  B.April  11, 1715,London;  d. 
Litchfield,  1806.  John  com.posed  songs 
and  anthems;  church  organist.  B. 
1740;  son  of  JOHN;  d.  Mar.  30,  1791. 

Alcock  (John)  composed  songs  and 
anthems;  church  organist.  B.  1740; 
son  of  JOHN;   d.  Mar.  30,  1791. 

Alday  (Paul)  wrote  popular  violin 
music,  on  which  instrument  he  was  an 
expert  performer;  founded  music 
school  in  Dublin.  B.  1764,  pupil  of 
Viotti;  d.  Dublin,  1835.  An  elder 
brother,  b.  1763,  wrote  a  useful  method 
for  violin,  played  both  mandolin  and 
violin,  and  established  a  music  busi- 
ness in  Lyons.  Their  father,  b.  in 
Perpignan,  1737,  was  a  mandolin 
player  of  note. 

Aldrich  (Henry)  composed  church 
music  and  collected  large  musical  li- 
brary bequeathed  to  Christ  Church, 
Oxford,  of  which  he  was  Dean.  B. 
1647;    d.  Jan.  19,  1710. 

Aldrich  (Bichard)  wrote  music 
reviews  for  the  New  York  Times,  pre- 
pared volume  on  Schumann  and  edited 


ALSKOVASrillNI               IS  ALLA  MENTE 

series    of    musical    biographies,    eon-  F.   von   Schober;     first  performed  at' 

tributed  to  magazines.    B.  Providence,  Weimar,   June   24,    1854;     was   com- 

R.  I.,  July  31,  1863;    graduated  from  pleted  Feb.   27,    1822.     The   overture 

Harvard;    studied  under  J.  K.  Paine;  has   been   plEtyed   as   the   prelude   to 

critic  Providence  Journal;    associate  "Rosamunde." 

critic  New  York  Tribune;    collabora-  Alford  (Jolin)  published  his  trans- 
tor  with  H.  E.  Krehbiel  in  "History  lation  of  Le  Roy's  work  on  the  lute, 
of  the  Philharmonic  Society";     add.  London,  1568. 
New  York  City.  Algarottl    (Count    Francesco) 

Aldrovandini  (Giuseppe  Antonio  wrote  a  work  pointing  out  defects  in 

Vincenzo)   composed   11   operas   and  opera  and  describing  an  ideal  theatre 

"Armonia  Sacra";    member  Bologna  (1775)    prophetic    of    Bayreuth.      B. 

Philharmonic    Academy    and    chapel-  Venice,  Dee.  11,  1712;   d.  Pisa,  May  3, 

master  to  Duke  of  Mantua.     B.  Bo-  1764. 

logna,  1673.  Allan!    (Francesco)    wrote    three 

Alembert,    d'    (Jean    Le    Bond)  books  of  duets  for  'cellos,  taught  and 

wrote  on  acoustics  and  musical  topics,  played  'cello.    B.  Piacenza,  1820. 

B.   Paris,   Nov.    16,   1717;     d.   Paris,  All  Baba.    Luigi  Cherubini's  opera, 

1783.  first  produced  July  22,  1833,  at  the 

Alessandro(Koman.o) called "della  Grand   Opfira,    Paris;    was   built   up 

Viola "  because  of  his  skill  on  that  in    part    from    his    "Faniska"    and 

instrument;       composed      madrigals,  "Achille"  with  a  new  overture  to  li- 

songs.    B.  Rome  about  1530.  bretto  adapted  from  his  "  Koukourgi." 

Alexander  Balus.  George  Frederick  Aliprandi     (Bernardo)     composed 

Handel's   oratorio   to    words    by    Dr.  operas;     directed    Munich    court    or- 

Morell  was  first  performed  at  Covent  chestra.      B.    Tuscany    about    1710. 

Garden,  London,   Mar.   9,    1748.     An  Bernardo   composed  for   and  played 

autograph   note   on   the   work    states  'cello.    Son  of  BERNARDO, 

that  it  was  begun  June  1,  1747,  fully  Aliquot    Tones.      Overtones    or 

scored  to  the  end  of  the  second  part,  harttionics. 

June  24,  and  completed  July  4  of  the  A  Livre  Ouvert.    Fr.    At  sight, 

same   year.     It   was   the    composer's  Alkan  (Charles  Henry  Valentin 

thirteenth  oratorio,  and  the  next  after  Ifforbange)     played     and     composed 

"  Judas  Maccabaeus."  etudes    and   caprices    for    piano    and 

Alexander    (Johann    or    Joseph)  taught.     B.  Paris,  Nov.  30,  1813;    d. 

Wrote  "Anweisung  fur  das  Violoncell,"  Mar.  29,  1888. 

a  method  for  the  instrument  on  which  Alia   Breve.     It.     Quick   common 

he  was  a  virtuoso.    B.  1770,  Duisburg;  time,  also  called  A  CAPELLA  from 

d.  1822.  having    been    employed     in     ancient 

Alexander's  Feast.  George  Fred-  church  music, 
crick  Handel's  setting  of  Dryden's  AUacci  (Leone)  published "  Drama- 
poem  was  completed  Jan.  12,  1736,  turgia  "  in  Rome,  1666,  which  contains 
added  to  by  Newburgh  Hamilton,  and  names  of  all  Italian  operas  to  that 
first  performed  Feb.  19,  1736,  at  Co-  date.  B.  Chios,  1586;  custodian  Vat- 
vent  '  Garden,  London.  Mozart  re-  ican  Library;  d.  Jan.  19,  1669. 
scftred  the  work.  Alia  Caccla.    /*.    Hunting  style. 

Alfieri   (Pietro)   taught  Gregorian  Alia  Camera.     It.     Like  chamber 

music  at  the  English  College,  Rome;  music. 

wrote  on  plain  song  and  polyphony;  Alia  Capella.     It.    A  CAPELLA. 

collected  polyphonic  music  of  the  great  Alia    Diritta.      It.      With    direct 

masters.    B.  Rome,  June  29,  1801 ;  en-  intervals. 

tered  the  Church   (Camaldulian) ;    d.  AUaEanacca.  It.  Like  a  polonaise. 

Jime  12,  1863.  Alia  DCarcia.    It.    March  style. 

Al  Fine.     It.    "  To  the  end."  Alia    Mente.      It.      Obsolete    har- 

Alfouso     und     Estrella.       Franz  monic    system    of   thirds    and    fifths, 

Schubert's  three-act  opera  to  book  by  based  on  plain  song. 


ALLA  MILITAIBE 


16 


ALTENBTTBa 


Alia  Illilitaire.    It.    Military  style. 

Alia  Uodema.  It.  In  modern 
manner. 

AH'  Antico.  /*.  "In  ancient 
style." 

Alia  Susse.    It.    Russian  style. 

AUargando.  It.  Increased  volume 
and  dignity  with  decrease  in  time. 

Alia  Scozzese.    It.    Scotch  style. 

Alia  Siciliaua.    It.    Sicilian  style. 

AUaZoppa.     It.    SYNCOPATED. 

AUegranti  (Maddelena)  sang  sop. 
in  opera  and  oratorio  from  debut, 
Venice,  1771  to  1799. 

Allegramente.    /*.    Gaily. 

Allegrettino.  It.  Slower  than 
allegretto. 

Allegretto.  It.  Slower  than  al- 
legro but  faster  than  andante. 

AUegrl  (Gregorio)  composed  a  fa- 
mous Miserere  for  the  Sistine  Chapel, 
where  he  was  a  singer.  B.  1580, 
Rome;  entered  the  Church;-  d.  Feb. 
18,  1652. 

Allegro.  It.  "Cheerful."  Quick 
tempo  between  andante  and  presto, 
generally  modified  by  other  musical 
terms. 

Alleluia.  L.  Latin  form  of  Hebrew 
Hallelujah,  which  means  "  Praise  ye 
the  Lord." 

AUemande.  Fr.  Slow  dance  in 
common  time  popular  in  France  from 
the  reign  of  Louis  XIX  to  that  of 
Napoleon;  movement  in  early  suites 
and  sonatas;  the  Deutscher  Tanz  in 
triple  time;  a  German  folk  dance  in 
2-4  time. 

Allen  (Henry  Bobinson)  com- 
posed "  The  Maid  of  Athens "  and 
other  popular  ballads ;  sang  bass  opera 
rSles  with  success.  B.  Cork,  1809;  d. 
ISTov.  27,  1876. 

Allentamento.    It.    Slowing  down. 

AUentato.    It.    Retarding. 

Al  Loco.  It.  Cancels  direction  to 
play  an  octave  higher  or  lower. 

Allison  (Richard)  composed  a  ver- 
sion of  Psalms  for  four  voices  with 
accompaniment  (1592),  part  songs, 
taught  music  in  London  during  Eliza- 
beth's reign. 

Allison  (Robert)  sang  in  Chapel 
Royal,  Eng.,  for  twenty  years,  giv- 
ing way  to  Humphrey  Bache,  Feb.  8, 
1609. 


AUonger  I'Archet.  Fr.  Length- 
ening the  bow  stroke. 

All  'Ottava.  It.  Indicates  music 
to  be  performed  an  octave  higher  or 
lower  than  written. 

All  'TJnisono.    It.    In  unison. 

Almahide.  The  first  opera  to  be 
sung  in  England  wholly  in  Italian 
(Jan.,  1710),  anonynious,  but  in  Bon- 
oncini's  style;  was  performed  the 
year  of  Handel's  arrival  in  London,  at 
the  Haymarket. 

Almeurader  (Karl)  improved  and 
played  bassoon,  for  which  he  also  com- 
posed. B.  Oct.  3,  1786,  Ronsdorf,  near 
Dusseldorf ;    d.  Sept.  14,  1843. 

Alpenborn  or  Alphorn.  used  by 
Swiss  and  other  mountaineers;  is 
constructed  of  wood  and  bark  and 
gives  only  the  open  tube's  tones  and 
harmonics. 

Alphabet.  The  letters  used  ^  in 
music  as  they  occur  in  the  natural 
scale  are  C,  D,  E,  F,  G,  A,  B.  The 
oldest  harps  and  shepherd  pipes  are 
believed  to  have  had  seven  tones,  to 
which  the  Greeks  gave  the  names  of 
letters,  A  being  the  lowest.  Greek  no- 
tation became  highly  complicated  with 
the  development  of  the  MODES  and 
Pope  Gregory  the  Great  changed 
church  notation,  again  employing  the 
first  seven  letters,  indicating  the  lower 
octave  by  capitals,  and  the  upper  by 
small  letters.'  Notes  were  gradually 
added  to  the  lower  A,  and  when  the 
modern  SCALE  was  adopted  in  the 
16th  century,  the  lowest  tone  had  be- 
come C  instead  of  A.  In  addition, 
Germans  use  H  for  B  natural,  B  for 
B  flat. 

Al  Bigore  di  Tempo.  /*.  In  strict 
time. 

Al  Segno.    It.    To  the  sign. 

Alsager  (Thomas  Kassa)  pro- 
moted chamber  music,  etc.  B.  Chesh- 
ire, 1779;   d.  London,  Nov.  15,  1846. 

Alt.  Ger.  Alto,  high.  Notes  in 
alt  begin  with  g  above  the  treble 
stafif;  those  an  octave  higher  are  in 
altissimo. 

Alta.    /*.    High,  higher. 

Altenburg  (Johann  Casper)  be- 
came famous  as  trumpeter;  d.  1761. 
Johann  Ernst  wrote  a  book  on  the 
trumpet,  on  which  he  was  a  celebrated 


ALTENBUBQ 


17 


AUBBOGETTI 


performer.  B.  1736,  Weissenfels,  son 
of  Johann  Casper;  d.  May  4,  1801, 
Bitterfeld. 

Altenburg  (SEichael)  composed 
and  arranged  church  music.  B.  May 
27,  1584,  Alach,  near  Erfurt;  pastor 
at  Erfurt;    d.  Feb.  12,  1640. 

Alterata.  L.  Scales  containing 
notes  other  than  those  in  church 
modes. 

Alteratio.  L.  In  obsolete  nota- 
tion, doubling  length  of  a  note. 

Alterato.  It.  Altered  or  augmented. 

Altere.    Fr.    Altered. 

Alternaxaente.     It.    Alternating. 

Alternative.  It.  A  trio;  a  pas- 
sage which  may  be  played  two 
ways. 

Altgeige.     Ger.    The  VIOLA. 

Altieramente.    It.    Proudly. 

Altisono.    It.    High  sounding. 

Altissimo.    It.    Highest. 

Altista.    It.    Alto  singer. 

AltSs  (Ernest  Eugene)  conducted 
at  Paris  Opfira,  1879-1887;  played 
violin  in  Conservatoire  orchestra; 
composed.  B.  Mar.  28,  1830,  Paris;  d. 
July,  1899.  Joseph.  Henri  won  celeb- 
,  rity  as  flautist.  B.  Rouen,  1826, 
brother  of  ERNEST  EUGENE;  d. 
Paris,  1895. 

Althom.    Tenor  of  the  SAXHORN. 

Altnikol  (Johann  Christoph) 
played  organ  and  composed,  studied 
with  Sebastian  Bach,  whose  daughter 
Elizabeth  J.  F.  he  married.  B.  Berna ; 
d.  Naumberg,  July,  1759. 

Alto.  /*.  The  highest  male  voice 
or  counter  tenor,  extended  to  include 
the  falsetto  tenor  register,  sung  by  aiti 
naturali  or  castrati.  The  term  is 
less  properly  applied  to  low  voices 
of  boys  and  CONTRALTO  voices  of 
women. 

Alto  Basso.  It.  Obsolete  Venetian 
stringed  instrument. 

Alto  Viola.    It.    The  VIOLA. 

Altra  Volta.  It.  Obsolete  syno- 
nym for  encore. 

Alvary  (3Cax)  achieved  fame  as 
singer  of  Wagnerian  ten.  rSles.  B. 
Diisseldorf,  May  3,  1858;  son  of  An- 
dreas Achenbach;  d.  Nov.  7,  1898, 
Thuringia. 

Alwood  (Bichard)  composed  church 
music,  16th  century. 


Alzamento  di  Kano.  It.  Up  beat 
of  the  hand  in  conducting. 

Alzando.    It.    Raising,  elevating. 

Amabile.    It.    Lovely. 

Amabilita,  con.  It.  Gently, 
tenderly. 

Amarevole.    It.    Sad. 

Amarezza,  con.   It.  With  sadness. 

Amarissimamente.  It.  Very 
bitterly. 

Amarissimo.  It.  In  mournful 
style. 

Amateur.  Fr.  One  who  devotes 
himself  to  art  for  the  love  of  it,  not 
for  pay. 

Amati.  Celebrated  Cremonese  fam- 
ily of  violin  makers,  of  patrician 
origin,  whose  instruments  are  among 
the  best  in  the  world  to-day,  and  who 
may  be  said  to  have  fixed  the  form  of 
that  instrument.  Andrea  made  vio- 
lins, tenors,  and  'cellos,  probably 
studied  with  GASPAR  DA  SALO  or 
MAGGINI.  B.  1520;  d.  1611.  Nicole, 
his  younger  brother,  made  basses  from 
1568  to  1635.  Antonio,  son  of  An- 
drea, improved  on  his  father's  work, 
1550^1638;  and  Oeronimo,  his 
brother,  developed  instruments  of  su- 
perior qualityand  larger  pattern,  1551- 
1635.  Nicolo,  son  of  Geronimo,  with- 
out altering  the  Amati  model,  improved 
the  qualities  of  his  instruments,  and 
was  the  teacher  of  ANDREA  GUAR- 
NIERI  and  ANTONIO  STRADIVARI. 
He  made  tenors  and  'cellos,  and  a 
larger  type  of  violins  now  called 
"Grand  Amatis."  B.  Sept.  3,  1596; 
d.  Aug.  12,  1684.  Oeronlino,  son  of 
Nicolo,  was  the  last  and  least  im- 
portant of  the  family.  B.  1649;  d. 
1740. 

Amber  Witch.  W.  V.  Wallace's 
four-act  romantic  opera  to  text  by 
H.  F.  Chorley,  was  first  produced  in 
London,  Feb.  28,  1861. 

Ambira.  African  cylindrical  drum 
with  wood  or  iron  vibrating  tongues. 

Ambitus.  L.  The  compass  of  a 
church  tone. 

Ambo.  Platform  from  which  the 
choir  sang  in  ancient  Greek  churches. 

Ambrogetti  (Giuseppe)  sang  buffo 
rdles  at  Paris  and  London  operas  from 
1807  to  1821,  and  is  said  to  have  be- 
come a  monk. 


AHBBOS 


18 


AITABATHBEI 


Ambros  (August  Wilhelm)  wrote 
a  histoiy  of  music  regarded  as  the 
mo^t  authoritative  in  German,  nu- 
merous essays,  composed,  lectured 
at  Prague  University.  B.  Nov.  17, 
1816,  Mauth,  Bohemia;  d..  Vienna, 
June  28,  1876. 

Ambrose,  St.  (Ambrosius)  became 
bishop  of  Milan  and  established  the 
form  of  plain  song  for  use  in  his  ca- 
thedral called  Ambrosian.  B.  Treves, 
333;   d.  Milan,  April  4,  397. 

Ajnbrosian  Chant  was  promul- 
gated at  the  cathedral  of  Milan  by  St. 
Ambrose,  384,  and  is  characterized  as 
highly  impressive  in  the  "  Confessions 
of  St.  Augustine,"  but  finally  became 
merged  in  the  vast  collection  of  GRE- 
GORIAN plain  song,  by  which  only 
it  can  be  judged.  It  has  been  believed, 
though  unproven,  that  St.  Ambrose 
used  only  the  four  "  authentic  "  Greek 
modes,  which  are  included  as  the  first, 
third,  fifth,  and  seventh  of  those  ap- 
proved by  ST..  GREGORY  THE 
GREAT.  Besides  the  chant,  St.  Am- 
brose included  in  the  services  a  number 
of  hymns,  among  them  "Eterna  Christi 
munera,"  and  "Veni  Redemptor  Gen- 
tium," and  eight  others  which  he 
wrote  himself,  thus  deserving  to  be 
called  "The  Father  of  Christian 
Hymnology." 

Ambrosian  Hymn.  The  Te  Deum 
is  so  called  because  its  authorship 
has  generally  been  attributed  to  St. 
Ambrose. 

Ambubajae.  L.  Strolling  Syrian 
minstrels. 

Ambulant.  Fr.  Strolling  musician. 

Ame.    Fr.    Sound  post. 

Amen.    Seb.    "  So  be  it." 

American  Organ  or  DCelodeon.  A 
free  reed  instrument  in  which  the  air 
is  drawn  in  by  suction  instead  of 
forced  out  by  pumping,  as  in  the  har- 
monium. Owing  to  a  difference  in  the 
reeds,  the  tone  is  softer  than  in  the 
harmonium,  but  more  uniform.  The 
instruments  are  often  provided  with 
two  manuals,  pedals,  and  the  stops, 
named  like  those  of  the  organ,  dia- 
pason, principal,  hautboy,  gamba, 
flute,  and  may  be. governed  by  an  auto- 
matic swell,  and  the  vox  humana, 
which    gives    a    tremulous     quality. 


Mason  &  Hamlin,  of  Boston,  perfected 
the  instrument  about  1860,  althougff 
its  principle  was  discovered  in  Paris 
in  1835. 

A  ]y[ezza  Aria.  It.  Partaking  of 
the  nature  of  both  aria  and  recita- 
tive. 

Amicis,  de  (Anna  Lucia)  sang 
sop.  in  opera,  1763,  London,  to  1789; 
Johann  Christian  Bach  composed  for 
her.    B.  1740,  Naples. 

Amicis,  de  (Domenico)  sang  with 
Anna  Lucia  de  Amicis  in  176^  in 
London. 

Amilie.  W.  M.  Rooke's  three-act 
romantic  opera  to  book  by  J.  T.  Haine^^ 
was  produced  at  Covent  Garden,  Lon- 
don, Dec.  2,  1837. 

Ammon  (Blasius)  composed  church 
music.     B.   the   Tyrol;     chorister   to 
Archduke     Ferdinand     of     Austria;, 
studied  in  Venice;    became  a  monk; 
16th  century. 

Amner  (John)  published  hymns 
for  voices  and  viols ;  organist  at  Ely 
Cathedral  until  his  death,  1641. 

Amner  (Ralph)  sang  bass  in  the 
Chapel  Royal,  Eng.;  d.  Mar.  3, 
1664. 

A  Moll.    Oer.    A  minor. 

Amore,  con.  It.  Lovingly,  tenderly. 

A  ]U[oresco.    /*.    Moorish  style,' 

Amorevole.    It.    Affectionately, 

Aiaorevoli(Angelo)sang  in  opera, 
Dresden  and  London.  B.  Venice, 
Sept.  16,  1716;  d.  Dresden,  Nov.  15, 
1798. 

Amoroso.    It.    Lovingly. 

Amor-Schall.  Obsolete  horn  in- 
vented by  Koelbel,  1760. 

Amplitude  of  Vibration.  Dis- 
tance between  either  end  of  the  jour- 
ney of  a  vibrating  particle  and  its 
point  of  rest. 

Ampollosamente.  It.  Pompous, 
bombastic. 

AmpoUoso.     /*.    Inflated  style. 

Ampoule.    Fr.    Bombastic. 

Amusement.  Fr.  Light  compo- 
sition. 

Anabasis.  Or,  Succession  of  as- 
cending tones. 

Anabathmi.  Or.  Antiphons  in  the 
Greek  Church  for  the  Psalms  called 
Graduals  in  the  Roman,  and  Songs  of 
Degrees  in  the  Anglican. 


ANAXAIIFSIS 


19 


ANDB^ 


Anakampsis.  Gr.  Succession  of 
descending  tones. 

Anakara.  Gr.  Ancient  form  of 
kettle  drum. 

Anakarista.     Or.    Drummer. 

Anacker  (August  Ferdinand) 
founded  the  Singakademie,  Freiberg; 
sang,  taught  music,  composed.  B. 
Freiberg,  Oct.  17,  1790;  d.  Aug.  21, 
1854. 

Anacreon.  Luigi  Cherubini's  two< 
act  opera-ballet  to  text  by  Mendouze 
was  first  performed  at  the  Paris  Op^ra, 
Oct.  4,  1803.  The  overture  is  still 
played. 

Anacreontic  Society,  composed  of 
aristocratic  London  amateurs,  gave 
vocal  concerts  in  the  latter  part  of  the 
18th  century. 

Analysis  published  with  a  concert 
programme  is  meant  to  enable  ama- 
teurs to  follow  the  music  understand- 
ingly.  The  delightful  analyses  written 
by  Philip  Hale  for  the  Boston  Sym- 
phony Orchestra  are  examples  which 
will  be  familiar  to  many,  but  the  prac- 
tice has  now  spread  to  Chicago,  Cin- 
cinnati, Pittsburg,  Philadelphia,  New 
York,  —  in  fact  wherever  symphony 
concerts  are  regularly  performed. 
Professor  Thompson,  of  the  Univer- 
sity of  Edinburgh,  was  first  to  write 
programme  analyses  in  English,  1841. 
Analyses  of  particular  works  in  pam- 
phlet form  are  common  everywhere. 
Wagner  wrote  one  on  the  Ninth  Sym- 
phony, Liszt  on  "  Tannhauser "  and 
"  Lohengrin." 

Anapest.  Metrical  foot  composed 
of  two  short  syllables  and  one  long 
syllable. 

Anche.  Pr.  Reeds  used  in  mouth- 
pieces of  woodwind  instruments. 

Ancia.    It.    Keeds. 

Ancient  Concerts  conducted  under 
the  auspices  of  the  English  court,  from 
177ff  to  June  7,  1848,  were  valuable  as 
a  means  of  diffusing  musical  knowl- 
edge, and  brought  together  the  best 
soloists  and  orchestras  and  choruses 
obtainable  in  London.  Twelve  con- 
certs were  given  annually,  to  which  a 
thirteenth  was  added  in  support  of  a 
musical  charity.  The  library  accumu- 
lated by  the  society  has  become  the 
property  of  the  Royal  College  of  Music. 


Andacht,  mit.   Oer.  With  devotion. 

And&chtig.     Ger.     Devotionally. 

Andamento.  It.  Fugue  subject  in 
two  contrasted  parts;   episode. 

Andante.  It.  Indicates  time 
slower  than  allegretto  but  faster  than 
larghetto;  slow  movement  in  sym- 
phony, sonata,  or  an  independent  piece. 

Andantino.  It.  Properly  indi- 
cates time  slower  than  andante,  but 
has  come  to  mean  somewhat  faster. 

Andare.  It.  To  move;  Diritto, 
directly;   In  Tempo,  in  time. 

Ander  (Aloys)  sang  ten.  in  opera, 
favourite  of  Meyerbeer.  B.  Oct.  13, 
1817,  at  Liebititz,  Bohemia;  d.  War- 
tenberg,  Dec.  11,  1864. 

Andersen  (Karl  Joachim)  com- 
posed for  flute  and  orchestra,  con- 
ducted palace  orchestra,  Copenhagen, 
a  foimder  of  the  Berlin  Philharmonic 
Society.  B.  April  29,  1847,  Copen- 
hagen; add.  Copenhagen. 
'  Anderson  (Lucy)  first  woman 
pianist  to  play  at  London  Philhar- 
monic concerts,  taught  Queen  Victoiria 
and  her  children.'  B.  Bath,  Dec, 
1790;  daughter  of  John  Philpot;  m. 
George  F.  Anderson,  1820;  d.  Dec.  24, 
1878. 

Andre  (Johann)  composed  thirty 
operatic  works,  songs;  directed  music 
at  Doebblin  Theatre,  Berlin;  estab- 
lished publishing  house  at  Offenbach; 
founded  musical  family  bearing  his 
name.  B.  Offenbach,  Mar.  28,  1741; 
d.  June  18,  1784.  Johann  Anton 
published  complete  thematic  catalogue 
of  Mozart's  works;  wrote  on  theory 
and  the  violin;  taught  and  composed; 
improved  the  business  of  his  father 
JOHANN,  by  alliance  with  Senefelder, 
who  invented  lithography.  B.  Offen- 
bach, Oct.  6,  1775;  d.  April  6,  1842. 
Johann  August  published  "  Univer- 
sal Lexikon  der  Tonkunst "  of  Schlade- 
bach  and  Bernsdorf.  B.  Mar.  2,  1817 ; 
son  of  JOHANN  ANTON;  d.  Oct.  29, 
1887.  Johann  Baptist  became  chapel- 
master  to  Duke  of  Bernburg.  B.  Mar. 
7,  1823;  son  of  JOHANN  ANTON;  d. 
Dec.  9,  1882.  Julius  wrote  "  A  Prac 
tical  Organ  School,"  etc.  B.  June  4j 
1808;  son  of  JOHANN  ANTON;  d. 
April  17,  1880.  Karl  August  opened 
Frankfort    branch    of    the    house    of 


ANDB^  CHENIEB             SO  AXriKUCCIA 

Andre,    added    piano    factory    called  "Alcyone."    B.  Paris,  1781;    d.  Aug. 

"Mozarthaus,"  puMished  "Pianoforte-  19,  1804. 

making,  its  History,  etc.,"   1855.     B.  Anelantemente.     It.     Ardently. 

June    15,    1806;     son    of    JOHANN  Anelanza.    /*.    Short  of  breath. 

ANTON;    d.  Feb.  15,  1887.  AnemoGhord.       Improved    ^olian 

Andre    Chenier.      Umberto    Gior-  harp  invented  by  Jacob  Schnell,  Paris, 

dano's  four-act  opera  was  first  per-  1789. 

formed  in  1896  at  La  Seala,  Milan.  Anemometer.  Wind  gauge; 
It  is  based  on  incidents  in  the  life  of  An«rio  (relice)  composed  for  Sis- 
Marie  Andre  Chenier,  a  French  poet  tine  Chapel.  B.  Home,  about  1560; 
born  at  Constantinople,  1762,  and  d.  1630.  Oiovanni  Francesco  com- 
guillotined  July  25,  1794,  three  days  posed  sacred  music  in  all  forms.  B. 
before  the  close  of  the  Terror.  After  Rome,  about  1567,  brother  of  FELICE; 
serving  in  the  army  and  diplomatic  d.  1620. 

corps,    Chenier    had    thrown    himself  Auesis.      Or.     Prom  high  to  low 

with  enthusiasm  into  the  French  Rev-  pitch ;   lowering  pitch  of  strings, 

olution,   but   finally   alarmed   by   its  Anet   (Baptiste)    published   violin 

excesses,  he  attacked  Eflbespierre,  who  sonatas,  studied  with  Corelli,  became 

ordered   his   imprisonment.     The   ac-  virtuoso  violinist.    B.  Paris ;   d.  Lune- 

tion  opens  in  the  year   1789   in  the  ville,  1755. 

Chateau   of   Count   de    Coigny.     The  Anfangsritomell.     0er.     Prelude, 

next  three  acts  take  place  in  Paris,  Anfangsgriinde.       Oer.      Elemen- 

and  the  opera  closes  as  Chenier  passes  tary  principles. 

through  the  courtyard  of  the  prison  Anfossi    (Pasquale)    composed   46 

of  St.  Lazare  on  his  way  to  the  scaf-  operas;    directed  music  at  St.  John's 

fold,    a.ccompanied    by    Madeleine    de  Lateran,  Rome.     B.  Naples,  1736;    d. 

Coigny,  who  has  elected  to  die  with  Feb.  1797. 

him.     In  the  revival  at  the  Manhat-  Angelica.     Ger.    Vox  Angelica, 

tan   Opera   House,   New   York,    1908,  Angelique.    Fr.    Vox  Angelica. 

M.   Bassi   sang   the   name   part,   and  Anglaise.    Fr.    English;   the  Eng- 

Mme.  Eva  Tetrazzini-Campanini  that  lish  country  dance, 

of  Madeleine.  Anglico.     It.     English;    the  Bng- 

Andreoll  (Giuseppe)  played  double  lish  country  dance, 
bass  in  La  Scala  and  taught  in  Milan  Anglebert,   d'   (Jean   Henri)   he- 
Conservatory.    B.  Milan,  July  7,  1757 }  came  chamber  musician  to  Louis  XIV, 
d.  Dec.  20,  1832.  published  "  Pieces  de  Clavecin,"  Paris, 

Andreoll     (Evangellsta)     played  16S9. 

organ  and  taught  at  Mirandola,  Italy.  Angore.     It.    Anguish. 

B.  1810;  d.  June  16,  1875.  auglielm.o  Angosciamento.    /*.    Sorrowfully, 

played  piano  with  notable  success.    B.  Angoscio8issimam«nte.    It.   With 

Mirandola,   April   22,    1835;     son   of  extreme  anguish. 

EVANGELISTA;     d.  Nice,   Mar.    13,  Anhang.    Ger.    Coda. 

1860.     Carlo  taught  piano  at  Milan  Anima,  con.    It.    With  animation. 

Conservatory,  and  played  in  concert  Animato.    It.    Spiritedly, 

with  success.     B.  Mirandola,  Jan.  8,  Animosamente.   /*.   Energetically. 

1840;    son  of  EVANGELISTA;    add.  Animuccla  (Giovanni)  "  Father  of 

Milan.  the  Oratorio";    friend  of  St.  Filippo 

Andrevi     (Francesco)    wrote    on  Neri;  composed  the  "  Laudi "  of  which 

theory,   composed   church   music,    di-  oratorio  was  the  development,  to  be 

rected  in  Barcelona,  Valencia,  Seville,  sung  at  the  Oratorio  of  St.  Filippo; 

and    Bordeaux.      B.    Nov.    16,    1786,  preceded  Palestrina  as  music  director 

Lerida,  Catalonia;    d.  Barcelona,  Nov.  of  the  Vatican.     B.   Florence,   about 

23,  1853.  1500;  d.  Rome,  1571.  Paolo  composed 

Androt    (Albert    Auguste)    com-  madrigals;     directed    music    at    the 

posed  a  Requiem,  etc.,  won  prix   de  Lateran,    1550-52.     Brother  of  GIO- 

Rome    at   Paris    Conservatoire    with  VANNI;   d.  Rome,  1563. 


AXtKLANd  21  ANTIPHON 

Anklang.    Oer.    Harmony,  accord,   the    Psalms,    other    portions    of   the 
Anklingen.     Oer.     In  tune.  Scripture,  or  the  Liturgy,  set  to  music 

Anlage.     Oer. '  Sketch  or  outline,     for  solo  voice  or  voices,  with  or  withr 
Anlaufen.     Oer.    To  swell.  out  organ  or  instrumental  accompanir 

Anleltung.  Oer.  Preface  or  ment.  Permission  to  sing  hymns  in 
instruction.  church  was  issued  by  Elizabeth,  early 

Anmutlr.     Oer.     Sweetness,  grace,     in   her  reign,   and  the   anthem  is   a 
Anonner.      Fr.      To    stumble    or    strictly  English  development  of  ecole- 
blunder.  siastical  music,  although  the  Wechsel- 

Anna  Amalia  (Duchess  of  Saxe-  gesang  of  the  Germans,  the  Autifona 
Weimar)  composed  music  for  Goethe's  of  the  Italians,  and  the  Antienne  of 
"  Erwin  und  Elmire  "  and  encouraged  the  French  resemble  it,  having  corn- 
music  at  her  court.  B.  Brunswick,  mon  origin  in  the  MOTET.  Full  an- 
Oet.  24,  1739 ;   d.  April  10,  1807.  thems  are  sung  wholly  by  chorus,  with 

Anna  Amalia  (Princess  of  Prus-  or  without  organ  accompaniment, 
sia)  composed  and  played  clavier.  Verse  anthems  begin  with  solo  pas- 
sharing  musical  taste  of  her  brother  sage  or  verse.  Solo  anthems  are  sung 
FREDERICK  THE  GREAT.  B.  Nov.  by  solo  voice,  but  with  chorus  at  the 
9,  1723;   d.  Berlin,  Mar.  30,  1787.  conclusion,  even  though  only  for  the 

Anna  Bolena.  Gaetano  Donizetti's  "  Amen."  Full  and  verse  anthema 
opera,  to  book  by  Romani,  was  first  have  passages  for  solo  voices,  but  begin 
performed  at  Milan,  Dec.  26,  1830,  and  bmA  end  with  chorus.  Instrumental 
later  in  other  European  cities.  anthems    are    those    accompanied   bj^ 

Annibale  (Padovano)  composed  other  instruments  than  organ.  Nearly 
church  music  and  madrigals,  became  every  English  composer  and  many>  of 
organist  of  St.  Mark's,  Venice,  and  other  nationalities  have  tried  this, 
chapelmaster  to  Archduke  Carl  of  form  of  composition  which  is,  there- 
Austria.  B.  Padua,  1527;  d.  about  fore,  rich  in  variety  and  in  treat- 
1604.  ment,  and  reflects  with  peculiar  truth 

Annibali  (Domenico)  sang  so-  the  taste  of  each  succeeding  gen- 
pranist  rSles  in  opera  under  Handel,  eration  —  even  that  of  the  Common- 
Londbn,  1736-37.  wealth  period,  when  the  anth^n  was 

Ansatz.   Oer.  Attack ;  embouchure,   reduced  to  the  simplest  form  of  psalm 
Anschlag.     Oer.     "Touch,"  aa  of   singing, 
keyed  instruments.  Anthema.   €fr.  Music  with  dancing. 

Anschwellen.     Oer.     Swell.  Anthologium.     Or.     Antiphonaiy 

Ansingen.    Oer.    Greeting  in  song,   or  antiphons  with  musical  settimg. 
Ansprechen.      Oer.      Singing    or       Anthropoglossa.      Or.      Vox 
intoning.  _  Humana. 

Amstimmen.  Cter.  Sounding  or  Anticipation  introduces  notes  or 
speaking.  •  parts  of  chords  before  the  chord  Itself 

Anstimmung.      Oer.      Sound    or  is  sounded, 
intonation.  Antico.     H.     Ancient. 

Answer.  Repetition  of  a  theme  Antienne.  Fr.  Antiphon;-.  anthem, 
proposed  by  another  voice  or  instru-  Antifona.  /*.  Antiphon;  anthem, 
ment.  Antigone.       Felix     Mendelssohn's 

Antecedent.  Fugal  theme  for  imi-  music  to  Sophocles'  tragedy,  consisting 
tation  or  answer.  of  an  introduction  and  seven  numberai ' 

Antegnatl  (Costanzo)  composed  was  first  performed  at.  Potsdam,  Oct. 
church  music.     B.   1557,  of  Brescian   28,  1841. 

family  famous  as  oigan  builders  in       Antinorl  (Iiuig^)  sang  ten.  at  Lon- 
15th  and  16th  centuries.  don  operas  1725-26.    B.  miogna,  about 

Anthems  are  required  to  be  sung  by    1697. 
the  ritual  of  the  Anglican  Church  at       Antiphon.    (Tr.    Origfnally  soonds 
morning  and  evening  prayer  by  the   in  octaves,  was  applied  to  the  practice 
choir,  and'  consist  ol  s^ectioas  tvcon  which  grew  up  in  the  chorck  of  An- 


ANTIFHONAL 


23 


ABBOS 


tioeh,  2d  century,  of  having  the  Psalms  upon."  An  ornamental  note,  eithe; 
sung  in  alternate  verses  by  distinct  short  or  long,  which  takes  its  tim( 
choirs  of  men,  and  of  women  and  chil-  from  the  principal  note,  in  the  on< 
dren.  The  term  also  applies  to  short  case  too  brief  to  be  accented,  in  th( 
scriptural  sentences  sung  before  and  other  played  louder  than  the  principa] 
after  the  Psalms  or  Canticles  and  ap-  note.  The  same  rules  apply  to  double 
propriate  to  the  church  season ;  to  col-    appoggiatura. 

lectiofls  of  Versicles  and  Responses;  Aprile  (Oiuseppe)  sang  con.  at 
to  anthems,  on  the  theory  that  the  the  principal  European  opera  houses; 
English  word  was  corrupted  from  the  taught  Cimarosa  and  others;  wrote 
Latin  antiphona.  a  system  of  solfeggi   still   used,  and 

Antiphonal.     L.     A  collection  of   composed  songs.     B.  Apulia,  Oct.  29, 
antiphonals;    ItCissarum,  to  be  sung    1738;  d.  1814. 


at  Mass  (now  called  Graduale  or  Oan- 
tatorium) ;  Besponsoriale,  to  be  sung 
at  Hours  or  Breviary  offices. 
Antiquis,    d'    (Giovanni)    edited 


A  Prima  Vista.    /*.   At  first  sight. 
A  Funta  d'Arco.     It.     With  the 
bow's  point. 
Apthorp  (W.  Foster)  wrote  "  Hec- 


Vilanelle  alia  Napolitana,"  Venice,   tor     Berlioz,"     "Opera     and     Opera 
1574,_   to    which    he     contributed    Singers";    criticism;    taught  theory, 


Crescendo. 


B.  Boston,  Oct.   24,   1848;    Harvard, 

studied  with  J.  K.  Paine  and  B.  J. 

At  pleasure  as  to   Lang;    add.  Boston. 

A  Quatre  IiCains. 
hands. 

A  Quatre   Seuls. 
soloists. 

A   Quatre   Voix. 
voices. 

A  Quattro  Hani. 


Pr.  For  four 
Fr.  For  four 
Pr.     For   four 


It.  For  four 
/*.  For  four 
/*.     For  four 


madrigals. 

Anwachsend.    Oer. 

A  Fiacere.    It. 
time. 

Aperto.    It.    Use  damper  pedal. 

Apfelregal.      Gen      An    obsolete 
organ  stop. 

Aplomb.    Pr.    Steadily. 

A  Foco.     It.    More;    Flu  Lento, 
slowly;  Fiu  Hosso,  rapidly. 

Apollo-Lyra.      An    improved  hands. 
PSALMMELODICON.  A    Quattro    Soli. 

Apollonicon.  An  automatic  organ  soloists, 
with  1900  pipes  and  45  stops,  some  of  A  Quattro  Voci, 
which  imitated  orchestral  instru-  voices, 
mentsj  on  which  six  performers  could  Arabesque.  In  Arabic  style;  a 
play  in  the  ordinary  way.  It  was  graceful  composition  in  rondo  fashion, 
invented  by  John  Henry  VSller,  of  Araja  (Francesco)  composed  "Proc- 
Hesse  Darmstadt,  and  set  up  in  Lon-  ris  and  Cephalus  "  for  Empress  Eliza- 
don  by  Plight  and  Robson,  1817,  and  beth,  1755,  the  first  opera  sung  in  the 
employed  for  concert  purposes  until  Russian  language;  chapelmaster  at 
1840.  St.  Petersburg,  1734^1759.    B.  Naples, 

Apotome.    ffr.    Major  semitone.        1700;   d.  1770. 

Appassionata.     It.     With  passion       Aranaz  (Fedro)  composed  church 
or  feeling.  _  music,    conducted   at    Cuenca   Cathe- 

Appassionata.    Beethoven's  superb   dral.     B.   Soria,   Spain;     d.   Cuenca, 
sonata.  Op.  57,  was  so  named  by  the    1825. 

publisher,  Cranz,  or  at  any  rate  not       Arbeau  (Thoinot)  nom  de  plume 
by  Beethoven  himself.  _  of  Jehan  Tabourot,  a  French  priest 

Appenato.     It.    With  suffering  or   who  wrote  a  dialogue  on  dancing  re- 

Z^'^^i-  printed  in  Paris,  1888,  which  contains 

Appllcatur.     Oer.    Fingering.  many  tunes  with  appropriate  words; 

Appoggfiando.     It.     leaning   on; 


drawn  out. 

Appoggiato.    It.    Notes  which  sus- 
pend resolution. 


16th  century. 

Arbitrio.     It.     Will,  pleasure. 

Arb6s  (E.  Fernandez)  taught  vio- 
lin at  the  Royal  Conservatory,  Ma- 


Appogglatura.     It.     "To  lean  drid;     studied   with   Joachim;     con- 


ABCADELT 


23 


ABIOSTI 


ducted  Berlin  Philharmonic  Society; 
composed  "  En  Centro  de  la  Tierra," 
comic  opera  played  Madrid,  Dec.  22, 
1895.  B.  Madrid,  Dec.  25,  1865;  add. 
Madrid. 

Af cadelt  (Jacob)  composed  madri- 
gals and  church  music;  taught  singing 
at  St.  Peter's,  Rome;  chapelmaster  to 
Cardinal  Lorraine.  B.  Netherlands, 
1514;  d.  Paris. 

Arcato.    It.    Play  with  bow. 

Arched  Viall.  Variety  of  hurdy- 
gurdy. 

Archer  (Frederick)  composed 
"  King  Witlaf  a  Drinking-  Horn  "  and 
other  cantatas ;  wrote  "  The  Organ," 
"  The  College  Organist  '* ;  conducted 
Pittsburg  Orchestra,  1895-98,  Boston 
Oratorio  Society,  1887;  organist  Ply- 
mouth Church,  Brooklyn,  etc.  B.  June 
16,  1^38,  Oxford,  Eng.,  studied  Lon- 
don, Leipsic;   d.  Pittsburg,  1901. 

Archet.    Fr.    The  bow. 

Archicembalo.  Cembalo  having 
enharmonic  scale,  long  obsolete. 

Archlute.  Large  double-necked  lute 
or  theorbo,  having  eight  single  or 
double  strings  on  keyboard  and  eight 
open  diapason  strings,  used  for  lowest 
part  of  accompaniment;    17th  century; 

Arco.    /*.    The  bow. 

Arditezza,  con.    It.    Boldly. 

Arditl(Iiuig^)  composed  "II  Bacio,'' 
a  vocal  waltz,  conducted  opera  at  New 
York  Academy  of  Music,  London  Co- 
vent  Garden,  etc.;  also  composed 
operas  "  I  Briganti,"  "  II  Corsaro," 
^'La  Spia."  B.  Crescentino,  Pied- 
mont, July  16,  1822;  studied  violin 
Milan  Conservatory;  d.  Brighton, 
Eng.,  May  1,  1903. 

Ardito.    It.    Bold,  energetic. 

Aretinian  Syllables.  Ut,  Re,  Mi, 
Fa,  Sol,  La,  by  which  Guido  Aretino  or 
d'Arezzo  designated  the  hexachord 
tones. 

Arens  (Franz  Xavier)  conducted 
"People's  Symphony  Concerts,"  New 
York ;  played  organ,  taught,  and  com- 
posed. B.  Germany,  Oct.  28,  1856; 
studied  with  his  father  and  Rhein- 
berger;  add.  New  York. 

Arensky  (Antony  Stephanovich) 
composed  "A  Dream  on  the  Volga," 
"Raphael,"  "Nal  and  Damayanti," 
symphonies,  songs;    wrote  on  theory, 


ranked  with  "  Young  Russian  "  school. 
B.  Novgorod,  July  31,  1861 ;  add.  St. 
Petersburg. 

Arghool.  Crude  form  of  clarinet 
still  popular  in  Egpyt. 

Argus  (Henri)  teught  solfeggio  in 
Paris  Conservatoire.  B.  1749;  d. 
1798.  Joseph  composed  vocal  and 
instrumental  music  published  in 
London. 

Argyll  Rooms  were  famous  as  the 
scene  of  the  best  London  concerts  from 
about  1800  to  1829.  They  were  located 
first  on  Argyll,  and  then  on  Regent 
Street. 

Aria.  It,  Air  or  melody,  now  ap- 
plied to  the  elaborate  solo  passages 
for  voice  in  opera  or  oratorio.  Arias 
are  of  many  kinds :  D'Abilita,  for  dis- 
play of  skill ;  Buffa,  humorous ;  Can- 
tabile,  flowing  gracefully;  Concer- 
tante,  in  concert  form;  Si  Bravura, 
ornate  and  difficult;  Fugata,  in  fugal 
style;  Farlante,  suitable  for  decla- 
mation; Portamento,  with  long  swell- 
ing notes ;  Senza  Accompag^amento, 
with  no  accompaniment;  Tedesca, 
with  obligatory  accompaniment. 

Ariane  et  Barbe  Bleue.  Paul 
Dukas'  opera  to  text  by  Maeterlinck 
was  first  performed  at  the  Paris 
Op^ra  Comlque,  1907,  and  the  follow- 
ing year  with  equal  success  at  the 
Vienna  Folks  Opera.  Ariane  is  the 
sixth  wife  of  Bluebeard,  to  whom  he 
entrusted  seven  keys,  but  with  the 
prohibition  that  she  should  not  open 
the  seventh  door.  Naturally  she  finds 
the  golden  key  to  that  door  most 
alluring.  Critics  were  of  the  opinion 
that  Dukas  had  studied  the  methods 
of  Wagner,  Debussy  and  Strauss  to  ad- 
vantage, and  highly  praised  the  conse- 
quent close  relationship  of  text  and 
score,  especially  when  Ariane  opens  the 
doors  in  succession,  and  the  flash  of 
the  gems  they  contain  is  accompanied 
by  brilliantly  effective  orchestration. 

Arietta.    It.    Diminutive  of  aria. 

Arioso.  It.  To  be  sung  in  aria 
style;  combining  the  free  declamation 
of  recitative  with  the  smoothness  of 
aria. 

Ariosti  (Atillio)  composed  fourteen 
operas  and  "  Muzio  Scaevola  "  jointly 
with  Handel  and  Bononcini,  oratorios 


ABmm  LA  CLEF 


24 


ABNOLD 


and  cantatas;  conducted  opera; 
played  viol  da  gamba;  dispensed  from 
holy  orders  to  devote  himself  to  music. 
B.  1660;  eclipsed  by  Handel;  retired 
1728. 

Armer  la  Clef.  Fr.  Adding  the 
signature  to  the  clef. 

Armes  (Philip)  composed  "Heze- 
kiah,"  "  St.  John  the  Evangelist,"  and 
"  St.  Barnabas  " ;  organist  Durham 
Cathedral;  professor  of  music,  Dur- 
ham University.  B.  Norwich,  Aug.  15, 
1836;    add.  Durham,  Eng. 

Armide.  Christoph  Willibald 
Gluck's  opera  to  the  text  written  by 
Philip  Quinault  for  Lulli  nearly  'a 
century  earlier,  was  first  performed  at 
the  Acad€mie  Royale,  Sept.  23,  1777, 
and  was  regarded  by  the  composer 
as  his  greatest  work.  The  book  is 
founded  on  an  episode  in  Tasso's 
"  Jerusalem  Delivered,"  and  the  scene 
is  accordingly  laid  in  Damascus,  1099. 
Armida,  queen  and  enchantress,  has 
the  Crusaders  at  her  feet  with  the  ex- 
ception of  Kinaldo,  a  valiant  knight 
temporarily  in  disgrace  with  his 
leader,  Godfrey  of  Bouillon,  because  of 
another's  misdeed.  Warned  to  avoid 
Armida'a  snares  by  his  friend  Arte- 
midor,  Kinaldo,  finding  himself  in  a 
lovely  spot,  is  lulled  to  sleep  by  ex- 
quisite music,  and  thus  falls  into  the 
power  of  Armida,  who  wishes  to  kill 
him,  but  instead  falls  in  love  with 
him.  Rinaldo  is  not  insensible  to  her 
charms,  but  Godfrey  has  sent  two 
knights  to  bring  him  back  to  camp. 
Despite  Armida's  witchcraft,  the  war- 
riors succeed  in  reaching  Einaldo,  and 
he  determines  to  return  with  them. 
Vainly  Armida  urges  him  to  stay,  and 
when  he  leaves,,  in  her  despair,  she 
converts  her  beautiful  domain  into  a 
desert. 

Armingaud  (Jules)  wrote  for 
violin  and  established  string  quartet 
which  developed  into  the  "  Soci€t€ 
Classique";  played  violin  in  Paris 
Op&a.  B.  Bayonne,  May  3,  1820;  d. 
Feb.  27,  1900. 

Armourer  of  Nantes.  Michael 
William  Balfe's  opera  to  text  by  J.  V. 
Bridgeman,  based  on  Hugo's  "Miiry 
Tudor,"  was.  first  performed  at  Covent 
Garden,  London,  Feb.  12,  1863. 


Armoneggiare.   It.   To  harmonize. 

Armenia.    It.    Harmony. 

Armonica.  It.  Glasses  attuned  to 
the  diatonic  scale  on  which  tones  are 
produced  by  friction ;  "  the  musical 
glasses  "  of  Ben.  Franklin,  Pickeridge, 
and  M.  Delaval ;   the  accordeon. 

Arne  (Michael)  composed  "  The 
Fairy  Tale,"  "  The  Belle's  Stratagem," 
and  other  operas,  songs,  and  con- 
ducted. B.  1740,  son  of  DK.  ARNE; 
d.  Jan.  14,  1786. 

Arne  (Dr.  Thomas  Augustine) 
first  introduced  female  voices  in  ora- 
torio choirs;  chiefiy  known  in  these 
days  for  his  setting  of  Shakespeare's 
songs  and  his  charming  ballads,  but 
was  one  of  England's  most  prolific 
dramatic  composers.  His  music  to  the 
Dalton  adaptation  of  Milton's  "  Co- 
mus  "  won  instant  recognition,  Drury 
Lane,  1738;  he  reset  Congreve's 
"Judgment  of  Paris";  composed  the 
music  to  "  Alfred,"  including  the  fa- 
mous song  "Rule  Brittania";  reset 
Metastasio's  "Artaserse,"  having 
translated  the  libretto  into  English; 
composed  "  Love  in  a  Village  "  (ballad 
opera),  "Judith,"  an  oratorio,  etc. 
He  was  the  author  of  "  The  Contest  of 
Beauty  and  Virtue,"  "The  Guardian 
Outwitted,"  and  "Phoebe  at  Court," 
as  well  as  the  composer.  Arne  was 
largely  self-taught  in  music,  his'  father 
having  intended  him  for  the  law,  en- 
tering him  at  a  solicitor's  after  a 
course  at  Eton.  He  undertook  the 
instruction  of  his  sister,  afterwards 
the  celebrated  actress,  MrSi  Clbber. 
This  enabled  her  to  sing  in  "  Amelie," 
Lampe's  opera,  1732,  and  it  was  at  her 
suggestion  that  Arne  wrote  new  music 
for  Addison's  "Rosamond,"  m  which 
she  sang  the  principal  rSle.  B.  Mar. 
12,.  1710,  London;  d.  Mar.  5,  1778. 

Arnold  (Johann  Gottfried)  com- 
posed for  and  played  'cello.  B.  Feb. 
15,  1773,  Niedernhall,  Wttrtemberg;  d. 
July  26,  1806. 

Arnold  (Dr.  Sam.uel)  composed  43 
operas  and  dramatic  pieces  between 
1765  and  1802;  organist  and  composer 
to  Chapel  R(^al>  Eng.;  conducted 
latter  concerts  of  Academy  of  Ancient 
Music.  B.  Aug.  10,  1740j  London; 
d.  Oct.  22,  1802. 


ABNOLD 


35 


ASANTCHEWSKT 


Arnold  (Bichard)  organized  string 
quaxtet;  eoncertmeister  New  York 
Philharmonic  Society  and  the  Thomas 
Orchestra.  B.  Eulenbcrg,  Jan.  10, 
1845;  pupil  Felicien  David;  add. 
Brooklyn. 

ArnoldsoiL  (Sigrid)  sang  sop.  at 
Paris  Op€ra  Comique,  in  Russia,  and 
New  York.  B.  Stockholm,  1865; 
studied  with  Maurice  Strakosch ;  debut 
Moscow,  1886;   add.  Paris. 

Arnould  (Madeleine  Sophie)  cre- 
ated the  name  part  in  Gluck's  "  Iphi- 
gfinie  " ;    was  celebrated  wit.     B.  Feb. 
14,  1744,  Paris;    d.  1803. 
Arpa.    /*.    The  harp. 
Arpa  Soppia.    It.    Double  harp. 
Arpanella.    It.  A  little  harp. 
Arpege.    Fr.    Arpeggio. 
Arpeggiando.       It.       Arpeggio 
playing. 

Arpeggiare.    It.    To  break  a  chord. 
Arpeggiatura.      It.      Series    of 
arpeggios. 

Arpeggio.  It.  "  In  harp  style  " ; 
broken  chord,  that  is,  a  chord  of  which 
the  notes  are  struck  successively,  not 
sounded  together. 

Arpeggione.     Obsolete  six-stringed 
instrument  resembling  both  guitar  and 
'cello,  played  with  a  bow. 
Arpicordo.    It.    Harpsichord. 
Arrangement.     The  adaptation  of 
a  composition  for  performance  by  other 
instruments  or  voices  than  originally 
intended. 
Arranger.     Fr.    To  arrange. 
Arriaga  y  Balzola  (Juan  Crisos- 
tomo     Jacobo     Antonio)     composed 
three  string  quartets,  a  symphony,  an 
overture.     B.  Bilboa,  Spain,  Jan.  27, 
1806;   studied  at  Paris  Conservatoire; 
d.  Feb.,  1825. 

Arrigoni  (Carlo)  published  "  Can- 
tate  da  Camera,"  in  London,  1732; 
lutenist.  B.  Florence;  engaged  with 
Porpora  in  opposition  to  Handel's 
operas  in  London;  d.  Tuscany  about 
1743. 

Arsis.  Or.  "To  lift."  Upward 
movement  of  the  voice  in  song,  or  the 
hand  in  beating  time,  opposed  to 
THESIS. 

Artaria  &  Co.  publish  music  in 
Vienna,  where  the  house  was  founded, 
1750,  by  Cesare,  Domenico,  and  Gio- 


vanni Artaria,  brothers,  who  sprang 
from  Blevio,  Lalce  Como.  Their  sons 
set  up  the  first  music  printing  press 
known  in  Vienna,  1776.  Works  of 
Haydn,  Mozart,  Beethoven,  etc.,  bear 
the  Artaria  imprint.  C.  August  and 
Dominik  Artaria  are  the  present  heads 
of  the  house. 

Artaxerses.  Dr.  Thomas  Augustine 
Arne's  three-act  opera  to  his  own 
translation  of  Metastasio's  "  Arta- 
serse  "  was  first  produced  Feb.  2,  1762, 
at  Covent  Garden,  London.  It  was  a 
favourite  for  many  years  and  was  re- 
vived in  Dublin,  1877. 

Arteaga  (Stefano)  wrote  an  his- 
torical work  on  Italian  opera;  member 
Society  of  Jesus.  B.  Madrid,  1750; 
d.  Oct.  30,  1799. 

Art.     Oer.    Kind,  species,  quality. 

Art  of  Fugue.  Sebastian  Bach's 
book  (Die  Kunst  der  Fuge),  teaches 
by  examples,  giving  14  fugues;  com- 
pleted 1749,  the  year  of  his  death. 

Arthur  (Alfred)  composed  three 
operas,  etc.,  directed  Cleveland  School 
of  Music,  and  conducted  Vocal  Society. 
B.  Oct.  8, 1844,  near  Pittsburg;  studied 
Boston;    add.  Cleveland,  Ohio. 

Articulation.  Distinct  pronuncia- 
tion in  song;  production  of  correct 
tone  by  proper  adjustment  of  lips  or 
fingers  to  an  instrument. 

Artot  (Alexandre  Joseph  Mon- 
tag^ney)  composed  for  and  played 
violin.  B.  Jan.  25,  1815,  Brussels,  son 
of  MAURICE;   d.  July  20,  1845. 

ArtSt  (marguerite  Josephine 
Desiree)  sang  first  mez.  sop.  and  then 
sop.  rSles  in  opera,  1858-87;  taught 
in  Berlin;  pupil  of  Viardot-Garcia; 
m.  Padilla  y  Ramos,  bar.  B.  Paris, 
July  21,  1835 ;   add.  Paris. 

Artdt  (Maurice)  played  horn; 
family  name  Montagney,  assumed  that 
of  Artat,  afterwards  borne  by  all  the 
family;  m.  daughter  of  Adam  Ries. 
B.  1772;   d.  1829. 

Artusi  (Giovanni  Maria)  com- 
posed; combated  musical  reforms  of 
his  day;  canon  of  San  Salvatore, 
Venice;    d.  Aug.  18,  1613. 

As.    Ger.    A  flat. 

Asantohewsky,  von  (Michael)  ac- 
cumulated large  musical  library; 
composed;     directed    St.    Petersburg 


ASCAULOS 


26 


ATHALIA 


Conservatory,  1870-79.  B.  Moscow, 
1838;   d.  Moscow,  Jan.  24,  1881. 

Ascaulos.     Gr.    Bagpipe. 

Aschenbrenner  (Christian  Hein- 
rich)  composed  chamber  music; 
chapelmaster  to  Dulie  of  Merseburg. 
B.  Dec.  29,  1654,  Alstettin;  d.  Jena, 
Dec.  13,  1732. 

Ascher  (Joseph)  composed  salon 
pieces;  court  pianist  to  Empress  Eu- 
genie. B.  Groningen,  Holland,  June  4, 
1829 ;    d.  June  20,  1869,  London. 

As  Dur.    Oer.    A  flat  major. 

Ashantee  Trumpet.  Horn  made  of 
an  elephant's  tusk. 

Ashdown  (Edwin)  publishes  music, 
London;   succeeded  Wessel  &  Co. 

Ashe  (Andrew)  played  flute;  con- 
ducted Bath,  Eng.,  concerts,  1810-22. 
B.  Lisburn,  Ireland,  1759;  m.  Miss 
Comer,  singer;   d.  Dublin,  1838. 

Ashley  (John)  directed  "Lent 
oratorios,"  Covent  Garden,  London; 
played  bassoon.  D.  Mar.  2,  1805.  Gen- 
eral Charles  played  violin.  B.  1770, 
son  of  JOHN;,  d.  Aug.  21,  1818. 
Charles  Jane,  with  help  of  his 
brother  "  the  General,"  continued  his 
father's  oratorio  concerts;  became 
secretary.  Royal  Society  of  Musicians ; 
charter  member  the  Glee  Club,  1793, 
and  Philharmonic  Society;  owner  of 
Tivoli  Gardens.  B.  1773;  d.  Aug.  29, 
1843.  John  James  taught  singing; 
played  Covent  Garden  organ.  B.  1772, 
son  of  JOHN;    d.  Jan.  5,  1815. 

Ashley,  of  Bath  (John)  composed 
popular  songs;  played  bassoon  and 
sang  at  Bath  for  fifty  years.  D. 
1830. 

Ashton  (Algernon  B.  L.)  taugLo 
piano  at  Royal  College  of  Music,  Lon- 
don ;  composed  "  English  Dances."  B. 
Durham,  Dec.  9,  1859;    add.  London. 

Ashwell  (Thomas)  composed 
masses  and  songs,  Eng.,  16th  century. 

Asioli  (Bonifacio)  wrote  valuable 
books  on  theory;  composed  masses 
and  a  concerto  when  under  age  of 
eight;  composed  for  theatre,  orchestra, 
etc. ;  censor  at  Milan  Conservatory. 
B.  Corregio,  Aug.  30,  1769;  d.  May  18, 
1832. 

As  DIoU.     Ger.  A  flat  minor. 

Aspirare.    It.    To  breathe  audibly. 

Aspiration.      Fr.      Dash    above    a 


note,  shortening  its  duration;  obso- 
lete grace  note. 

Asprezza.    It.    Harshness. 

AspuU  (George)  composed  and 
played  piano.  B.  Manchester,  June, 
1813;   d.  Aug.  19,  1832. 

Assai.  /*.  "  Very,"  as  allegro 
assai,  very  fast. 

Assemblage.  Fr.  Rapid  passages; 
double  tonguing. 

Assez.    Fr.    Enough;    rather. 

Assmayer  (Ignaz)  composed  iif- 
teen  masses,  the  oratorios  "  Das  Ge- 
lubde,"  "Saul  und  David,"  "Saul's 
Tod  " ;  directed  Vienna  "  Tonkttnstler- 
Societat."  B.  Salzburg,  Feb.  11,  1790; 
d.  Aug.  31,  1862,  Vienna. 

Association  Artistique  was 
founded  in  Angers,  France,  for  per- 
formance of  orchestral  music,  1875,  and 
had  given  its  500th  concert  in  1902,  at 
which  time  Count  Louis  de  Romain, 
one  of  its  founders,  was  president. 

Assoluto.    /*.    Absolute. 

Assonance.  Concord,  agreeing  in 
tone. 

Aston  (Hugh)  composed  church 
music  and  for  virginal,  Eng.;  16th 
century.  Name  also  written  Ashton, 
Austen,  Aystoun. 

Astorga,  d'  (Baron  Emanuele) 
composed  celebrated  "  Stabat  Mater," 
the  opera  "  Dafni."  B.  Naples,  Dec.  11, 
1681,  son  of  Marqxiis  Capeee  da  Rof- 
frano;    d.  Aug.  21,  1736,  Bohemia. 

A  Suo  Comodo.    At  one's  leisure. 

Atabal.    Moorish  drum. 

A  Table  Sec.  Fr.  Sung  unaccom- 
panied. 

A  Tempo.    It.    In  time. 

A  Tre.    It.    In  three  parts. 

Attacca.    It.    Begin  at  once. 

Attacco.  It.  A  fugue  theme  for 
imitation. 

Attack.  Firmness  and  precision  in 
beginning  a  passage  constitute  "good 
attack." 

Attaque,  Chef  d'.  Fr.  Leader  of 
the  orchestra. 

Athalia.  George  Frederick  Handel's 
oratorio,  to  words  by  Humphreys,  was 
completed  June  7,  1733,  first  per- 
formed at  Oxford,  July  10  of  that 
year,  revived,  London,  1845.  It  was 
composed  after  "  Deborah,"  and  ia 
therefore  Handel's  third  oratorio. 


ATHALIE  27 

Athalie.  Felix  Mendelssohn's 
music,  consisting  of  an  overture, 
march,  and  six  vocal  numbers,  to  the 
Racine  tragedy;  was  first  performed 
completely  in  Berlin,  Dec.  1,  1845. 

Atkius  (Ivor  Algernon)  played 
organ  Worcester  Cathedral,  conducted 
"Three  Choir  Festivals,"  1899  and 
1902.  B.  Cardiff,  Wales,  Nov.  29,  1869; 
add.  Worcester,  Eng. 

Attaignant  (Pierre)  published 
music  in  Paris,  16th  century,  printed 
from  movable  type  invented  by  Pierre 
Hautin. 

Attaque  du  lyioulin.  Alfred  Bru- 
neau's  three-act  opera  to  book  by 
Louis  Gallet,  founded  on  the  tale  in 
Zola's  "  Soirges  de  Meudon,"  was  first 
performed  Nov.  23,  1893,  at  the  Opfira 
Comique,  Paris. 

Attendant  Keys.    Relative  keys. 

Atterbury  (LufEman)  composed 
popular  glees  and  the  oratorio  "  Go- 
liah";  musician  to  George  III.  D. 
Westminster,  Eng.,  June  11,  1796. 

Atto.    It.    Act. 

Attore  or  Attrice.  It.  Actor  or 
actress ;   principal  singers  in  opera. 

Attwood  (Thomas)  composed; 
played  organ  St.  Paul's  Cathedral, 
London;  treasurer  Philharmonic  So- 
ciety, 1813;  taught  Royal  Academy 
of  Music.  B.  London,  Nov.  23,  1765; 
d.  Mar.  24,  1838. 

Aubade.  Fr.  Open  air  morning 
concert. 

Auber  (Daniel  Frangois  Esprit) 
composed  "La  MUETTE  DE  POR- 
TICI,"  which  ranks  with  the  greatest 
of  French  grand  operas ;  the  delightful 
opgra  comique  "FRA  DIAVOLO,"  in. 
all  more  than  forty  operas  between 
1811  and  1869;  directed  the  Paris 
Conservatoire,-  but  was  so  timid  that 
he  never  conducted,  nor  even  attended 
the  performance  of  his  own  works. 
Bom  at  Caen,  Jan.  29,  1782,  of  a  Nor- 
man family  domiciled  in  Paris;  he 
displayed  a  genius  for  music  in  child- 
hood, composing  songs  when  only 
eleven.  Sent  to  London  by  his  father 
to  qualify  for  a  business  career,  he 
was  compelled  to  return  in  1804  by 
the  prospect  of  war.  'Cello  concertos, 
which  he  wrote  for  his  friend  Lamarre 
shortly  afterwards,  introduced  him  aa 


AUBEKT 

a  promising  composer,  and  when,  in 
1811,  Cherubini  heard  a  performance 
of  "  Julie,"  an  opera  which  he  com- 
posed for  an  amateur  organization,  he 
volunteered  to  teach  him  the  techni- 
calities of  his  profession.  "  Le  sfijour 
militaire,"  his  first  opera  publicly  per- 
formed, 1813,  proved  a  complete  fail- 
ure, and  it  was  not  until  six  years 
later  that  he  mustered  courage  to  try 
again.  "Le  Testament"  likewise  failed, 
but  in  1820  he  struck  the  keynote  of 
success  with  "  La  bergfire  Chatelaine," 
and  formed  an  alliance  with  Scribe, 
the  author  of  the  books  of  all  his  other 
operas.  Then  followed  in  succession: 
"  Emma,"  "  Leicester,"  "  La  neige," 
"  VeudOme  en  Espagne,"  with  Hfirold; 
"  Les  trois  genres,"  with  Boieldieu; 
"  Le  concert  a  la  cour,"  "  Leocadie," 
"  Le  Macon,"  "  Le  Timide,"  "  Fiorilla," 
"  La  muette  de  Portici,"  "  La  flancfe," 
"  Fra  Diavolo,"  "  Le  Dieu  et  la  Baya- 
dere," "  La  marquise  de  Brinvilliers  " 
(with  eight  other  composers;  "Le 
philtre,"  "Le  serment,"  "Gustave  III," 
known  also  as  "  BALLO  IN  MAS- 
CHERA,"  "Lestoeq,"  "  Le  cheval  de 
bronze,"  "Action,"  "Les  chaperons 
blanos,"  "  L'ambassatrice,"  "  Le  do- 
mino noir,"  "  Le  lac  des  fSes,"  "  Za- 
netta,"  "Les  DIAMANTS  DE  LA 
COURONNE,"  known  in  English  as 
"  The  Crown  Diamonds,"  "  Carlo  Bros- 
chi,"  "Le  due  d'Orlonne,"  "La  part  du 
diable,"  "  La  Sir6ne,"  "  La  barcarolle," 
"Haydfe,"  "L'enfant  prodigue,"  "Zer- 
line,"  "  Marco  Spada,"  "  Jenny  Bell," 
"MANON  LESCAUT,"  "Magenta," 
"  La  Circassienne,"  "  La  fiancfie  due 
roi  des  Garbes,"  "  Le  premier  jour 
de  bonheur,"  "  La  rgve  d'amour."  "  La 
Muette"  (Masaniello),  with  its  stir- 
ring pictures  of  revolt,  is  said  to  have 
provoked  the  Brussels  riots  which  be- 
gan with  its  performance  in  that  city, 
Aug.  25,  1830.  In  1829  Auber  was 
elected  to  the  Academic,  and  he  was 
honoured  by  Louis  Philippe  and  Na- 
poleon III.  His  death,  which  may 
have  been  hastened  by  the  disorders  of 
the  Commune,  occurred  May  13,  1871. 
See  Ad.  Kohut's  memoir,  1895. 

Aubert  (Jacques)  composed  the 
opera  "La  Reine  des  P6ris,"  much 
chamber  music,  played  violin  at  Paris 


AtTBEBT 


28 


AVEBY 


Op6ra  and  concerts  spirituel ;  d.  Belle- 
ville near  Paris,  May  19,  1753. 

Aubert  (Louis)  succeeded  his  father 
at  the  Opera,  1755,  retired  1771.  B. 
Paris,  May  15,  1720  son  of  JACQUES. 

Aubert  (Pierre  frangois  Olivier) 
published  instruction  books  and  music 
for  'cello;  played  'cello  at  Op6ra 
Comique,  Paris,  25  years.  B.  Amiens, 
1763. 

Audace,  con.     It.    With  audacity. 

Audran  (Edmoud)  composed  many 
successful  light  operas,  "  Les  noces 
d'Olivette,"  "La  Mascotte,"  "Miss 
Helyett,"  "  La  Poupee  " ;  church  music 
and  songs,  played  organ.  B.  April  11, 
1842,  Lyons;  d.  Paris,  Aug.  16, 
1901. 

Auer  (Leopold)  succeeded  Wieni- 
awski  as  professor  of  violin  at  St. 
Petersburg  Conservatory;  violinist  to 
the  Czar,  etc.;  founded  noted  string 
quartet  with  Davidov.  B.  Veszbrem, 
Hungary,  June  7,  1845;  pupil  of  Joa- 
chim;   add.  St.  Petersburg. 

Aufgewecht,  Qer.  Sprightly, 
brisk. 

Aufhalten.    Ger.    Retard,  suspend. 

Aufbaltung.     Cter.    Suspension. 

Auflage.    Ger.    Edition. 

Aufliisung.  Ger.  Resolving  a 
discord. 

Aufldsungzeicben.  Qer.  Signs  of 
natural,  sharp,  or  flat  used  in  restor- 
ing notes  affected  by  accidentals,  or 
altering  a  key  signature. 

Aufschlag.    Oer.   Unaccented  beat. 

Aufstrich.     Q-er.  With  up  bow. 

Auftakt.     Ger.    The  up  beat. 

Augarten,  where  Mozart  gave  a 
series  of  early  morning  concerts; 
where  Beethoven  and  Bridgetower 
played  the  "  Kreutzer  Sonata "  from 
manuscript,  is  a  public  garden  in  a 
Viennese  suburb,  opened  to  the  popu- 
laoe  by  Emperor  Joseph  II,  1775.  Con- 
certs are  no  longer  given  there. 

Augener  &  Co.  publish  music  in 
London,  having  a  catalogue  of  6000 
volumes ;  and  "  The  Monthly  Musical 
Record."  The  business  was  founded 
1853. 

Augmentation  introduces  a  fugal 
or  canon  theme  in  notes  twice  the 
length  in  which  it  was  originally 
proposed. 


Augmented  Interval.  Raised  a 
semitone  above  its  normal  value. 

Auletes.  Gr.  Player  on  the  aulos 
or  flute. 

Aulaeum.     L.  A  theatre's  curtain. 

Auguez  (Kuma)  sang  bar.  and 
taught  singing,  Paris  Conservatoire. 
B.  Saleux,  Somme,  1847 ;  d.  Paris,  Jan. 
27,  1903. 

Aulin  (Tor)  conducted  Stockholm 
Philharmonic  Society;  founded  Aulin 
string  quartet.  B.  Stockholm,  1866; 
add.  Stockholm. 

Aulos.  Gr.  The  flute,  chief  in  im- 
portance of  Greek  wind  instruments, 
but  probably  generic  term  for  reed  in- 
struments as  well. 

Ausdruck.     Oer.    Expression. 

Ausfiihrung.  Ger.  Performance 
of  a  composition;  its  development  by 
the  composer. 

Aushaltung.  Ger.  Duration  of  a 
tone. 

Ausbaltungszeichen.    Ger.  Pause. 

Ausweichung.     Ger.    Modulation. 

Authentic.  Church  MODES  having 
all  sounds  within  an  octave  of  the  final, 
and  upon  which  others  called  PLA6AL 
were  constructed. 

Authentic  Part.  The  portion  of 
a  scale  between  a  note  and  its  domi- 
nant; that  between  the  dominant 
and  superior  tonic  being  called 
plagal. 

Autos-Sacramentales.  8p.  Early 
dramatic  form  akin  to  English  mys- 
teries and  moralities,  but  with  music 
and  dancing  added. 

Auxcousteaux,  d'  (Arthur)  com- 
posed church  music ;  became  master  of 
the  Ste.  Chapelle,  Paris.  B.  Beauvais, 
Picardy;    d.  1656. 

Auxiliary  Notes.  Grace  notes  not 
essential  to  a  harmony. 

Auxiliary  Scales.  Those  of  at- 
tendant or  relative  keys. 

Ave  Maria.  L.  "Hail  Mary." 
The  subject  of  many  exquisite  compo- 
sitions for  use  in  the  Roman  Catholic 
Church. 

Ave  Maris  Stella.  L.  "Hail,  Star 
of  the  Sea."    Latin  hymn. 

Avena.  L.  An  oaten  or  reed 
pipe. 

Avery  (Master)  composed  church 
music,  Eng.,  16th  century. 


AVEBT 


39 


BACH 


Avery  (Jolin.)  built  organs  in  many 
English  churches;    d.  1808. 

Avisoh  (Charles)  wrote  on  musical 
expression  and  composed  50  concertos. 
B.  Newcastle  on  Tyne,  1710;  d.  May 
9,  1770. 

A  Vista.    /*.    At  sight. 

Avoglio  (Signora)  sang  sop.  r61es 
under  Handel's  direction  on  his  visit 
to  Ireland,  1741. 

Aylward  (Dr.  Theodore)  composed 
music  for  "  Cymbeline,"  "  Midsummer 
Night's  Dream";  taught  at  Gresham 
College;  played  organ.  B.  1730;  d. 
London,  Feb.  27,  1801. 

Ayrton  (Dr.  Edmund)  composed 
two  complete  morning  and  evening 
services  for  Anglican  Church.  B. 
Ripon,  1734;  d.  May  22,  1808.  Wil- 
liam edited  musical  publications; 
wrote  criticisms;  directed  music  at 
the  King's  Theatre,  London.  B.  Lon- 
don, Feb.  24,  1777,  son  of  DR.  ED- 
MUND;   d.  Mar.  8,  1858. 

Ayton  (Fanny)  sang  in  opera  and 
concert,  1827-32.  B.  Macclesfield,  Eng., 
1806. 

Azione  Sacra.  It.  Sacred  dramas, 
oratorios,  passions. 

Azor.  Heft.  Obscure  musical  term 
in  the  Psalms. 

Azor  and  Zemira.  English  version 
of  Spohr's  opera  "  Zemire  und  Azor." 

Azzopardi  (Francesco)  published 
works  on  theory;  chapelmaster  at 
Malta ;  French  translation  of  his  "  II 
Musico  Prattico "  appeared  in  Paris, 
1786. 

B  is  the  seventh  tone  of  the  natural 
scale  of  C,  called  H  in  Germany,  where 
B  signifies  B  flat.  B  is  likewise  the 
name  of  the  major  scale  having  five 
sharps  and  of  the  minor  key  relative 
to  D  major.  B  was  the  first  tone  to  be 
chromatically  altered,  as  in  the  Hexa- 
chordal  system  there  would  otherwise 
have  been  three  consecutive  whole 
degrees  followed  by  the  interval  of  an 
augmented  fourth  in  the  third  hexa- 
chord.  The  flattened  B  was  then  indi- 
cated by  the  round  "  Rotundum "  B 
or  B  molle  or  B^mol,  and  the  natural 
B  by  the  square  "  Quadratum "  or 
"Quadrum"  or  "Durum"  B  or  B6- 
earr0.    During  the  evolution  which  re- 


sulted in  the  modern  scale  the  round 
B  and  square  B  came  to  be  used  as 
signs  of  accidentals  before  other  notes, 
and  thus  gave  form  to  these  signs  as 
used  to-day.  B  flat  is  the  key  wherein 
most  of  the  clarinets  in  military  band, 
one  clarinet  in  orchestra,  and  a  large 
number  of  the  brasses  are  set. 

Baarpyp.  "Bear-pipe,"  Dutch 
organ  stop. 

Baas  or  Base  Dance.  Slow  dance 
resembling  minuet. 

Baban  (Gracian)  composed,  di- 
rected music  Valencia  Cathedral,  1657- 
75. 

Babbini  (ISatteo)  sang  ten.  at  the 
courts  of  Frederick  the  Great  and 
Catherine  II  of  Russia.  B.  Bologna, 
Feb.  19,  1754;    d.  Sept.  22,  1816. 

Babell  (William)  composed  for 
harpsichord,  etc. ;  pupil  of  his  father, 
a  bassoon  player,  and  of  Dr.  Pepusch. 
B.  Eng.,  1690;  d.  Canonbury,  Sept. 
23,  1723. 

Baccalaureus  Musicae.  L.  Bach- 
elor of  Music. 

Bacchanalian  Songs.  Those  sung 
in  worship  of  Bacchus,  hence  drinking 
songs. 

Bacchia.     Kamschatkan  dance. 

Bacciolo.     Guitar  of  Tuscany. 

Baccusi  (Ippolito)  composed 
church  music,  and  was  among  the  first 
to  introduce  instrumental  parts  for 
support  of  voice  in  church  pieces;  di- 
rected music  at  Mantua  and  Verona 
Cathedrals.    D.  Verona,  1609. 

Bach  was  the  name  of  a  gr«at  Thu- 
ringian  family  of  musicians  which 
began,  so  far  as  music  is  concerned, 
with  Hans  Bach,  born  at  Wechmar 
about  1561 ;  had  its  most  illustrious 
representative  in  Johann  Sebaslian 
Bach,  and  became  extinct  on  the  death 
of  his  grandson,  Friedrich  Ernst  Wil- 
helm  Bach,  Berlin,  1845.  A  genea- 
logical table  prepared  by  Johann  Se- 
bastian and  supplemented  by  his  son, 
Carl  Philip  Emanuel,  sets  forth  the 
names  of  53  men.  Musicians  of  the 
Bach  family  so  completely  monopo- 
lized their  art  in  Arnstadt,  Erfurt, 
and  Eisenach  that  Erfurt  town  musi- 
cians were  called  Bachs.  Veit,  as- 
sumed to  have  been  the  son  of  HANS, 
immigrated  to  Hungary  to  escape  reli- 


BACH                            30  BACH 

gious  persecution,  but  later  returned  hann  Christian,  succeeded  him  as  direc- 

to  Wechmar,  where  he  plied  the  trades  tor.    These  brief  references  bring  us  to 

of  miller  and  baker,   and   in  leisure  the  fifth  generation  of  the  Bach  family, 

moments  played  the  eythringen,  which  reckoned  from  Hans  of  Wechmar,  the 

may  have  been  a  kind  of  zither.     B.  generation  in  which  the  genius  of  the 

about  1550;    d.  Mar.  8,  1619.     Hans  race  culminates  in  JOHANN  SEBAS- 

waa  the  first  to  become  a  professional  TIAN.     Reserving   Johann    Sebastian 

musician,  but  combined  the  gentle  art  for  a  special  article,  others  fifth  in  de- 

with  carpet  weaving.     B.  about  1-580,  scent  from  Hans  in  this  period  were: 

son  of  VEIT;    d.  Dec.  26,  1626.     Jo-  Joliann     Bernhard     composed    four 

hannes   became   town   musician   and  orchestral  suites,  preludes,  and  clavier 

church  organist  at  Erfurt.    B.  Nov.  26,  music,   organist   at   Erfurt,   at  Mag- 

1604,  son  of  HANS;    d.  1673.    Hein-  deburg    succeeded    Johann    Christoph 

rich,  served  as  organist  at  Arnstadt  as    organist   at   Eisenach.      B.    Nov. 

for    more    than    50    years    beginning  23,  1676;    son  of  JOHANN  AEGID- 

1641.     B.  Wechmar,   Sept.   16,   1615;  lUS;     d.    June    11,    1749.      Joliann 

son    of    HANS;    d.    July    10,    1692.  Christopli  succeeded  his  father,  JO- 

Christoph  became  town  musician  to  HANN    AEGIDIUS,    at    Erfurt.     B. 

Arnstadt  and  court  musician  to  Count  Aug.    15,    1685;     d.    1717.      Johanu 

Schwarzburg.    B.  Wechmar,  April  19,  Christopli   became   organist  at   Ohr- 

1613;     son   of   HANS;     d.    Sept.    14,  druf;     pupil  of   Pachelbel   of  Erfurt, 

1661.      GeoTg    Christoph    composed,  and  brother  of  Johann  Sebastian,  to 

taught  school  and  sang  at  Themar  and  whom  he  taught  clavier.    B.  June  15, 

Schweinfurt.  B.  Sept.  6,  1642,  Erfurt;  1671;    son  of  Johann  Ambrosius;    d. 

son    of    CHRISTOPH;    d.    April    24,  1721.      Johann    Ificolaus    composed 

1679.   Johann  Christoph  and  Johann  many  suites,   the   comic   opera   "  Der 

Ambrosius,    twin    sons    of    CHRIS-  Jenaische    Wein    und    Bier    Rufer"; 

TOPH,  were  so  much  alike  as  to  be  manufactured    pianos    but    met    with 

hardly  distinguishable,  even  by  their  great  opposition  because  of  his  intro- 

wives.     Both  played  violin.     Johann  duction  of  equal  temperament;   organ- 

Christoph  became   court  musician   to  ist  to  town  and  University  of  Jena; 

Count  Schwarzburg  at  Arnstadt.    Two  composed  the  cantata  for  douWe  chorus 

of  his  sons  were  musicians.    B.  Erfurt,  and    orchestra,    "  Es    erhub    sich    ein 

Feb.  22,  1645;    d.  Aug.  25,  1693.     Jo-  Streit,"    the    motet    "  Ich    lasse    dich 

hann    Ambrosius    joined    the    Erfurt  nicht,"  well  known  under  the  English 

"  Raths-Musikanten  "    in    1667.      He  title  "  I  wrestle  and  pray,"  and  once 

became  the  father  of  JOHANN  SE-  attributed  to   Johann   Sebastian.     B. 

BASTIAN,   and  died  Eisenach,   1695.  1669;     son    of    Johann    Christoph   of 

Johann    Christoph    played    organ    in  Eisenach;  d.  1753.     Johann  Ludwig 

Eisenach   churches,   where   he   finally  composed  17  church  cantatas  (Johann 

became  court  organist.     B.  Arnstadt,  Sebastian  transcribed  12  of  them),  a 

son  of  Heinrich,  Dec.  8,  1642;   d.  Mar.  suite  in  G,  chapelmaster  at  Meiningen. 

31,  1703.    Johann  Michael  composed  B.  Steinbach,  1677;  son  of  Jakob  Bach 

72    fugued   and   figured    chorale    pre-  and  probably  descended  from  Veit;  d. 

ludes,  organist  at  Gehren,  near  Arn-  1741.      Of   the   generation   succeeding 

stadt.     He  was  the  father  of  Maria  Johann  Sebastian  were:    Johann  Er- 

Barbara,  1684-1720,  who  was  the  first  nest   composed   sacred   music   and  a 

wife  of  her  cousin,  Johann  Sebastian,  clavier  fantasia  and  fugue ;   graduated 

B.    Aug.    9,    1648,    Arnstadt,    son    of  in    law   Leipsic    University;     studied 

HEINRICH;    d.  May,  1694.     Johann  music    under    Johann    Sebastian; 

Christian  directed  the  musical  society  chapelmaster    at    Weimar,    1756.     B. 

at  Erfurt  in  succession  to  his  father,  Eisenach,  Sept.   1,   1722;    son  of  JO- 

JOHANN  of  Erfurt.    B.  Aug.  2,  1640;  HANN     BERNHARD.       Wilhelm 

d.  1682.    Johann  Aegidius  became  or-  Friedeman,  "the  Halle  Bach,"  com- 

ganist  of  St.  Michael's  Church,  Erfurt,  posed  23  church  cantatas  and  17  sets 

and  on  the  death  of  his  brother,  Jo-  of   instrumental   pieces,    regarded   as 


BACH 


31 


BACH 


one  of  the  greatest  organists  and  the- 
orists of  his  time,  ruined  himself  in 
dissipation  and  died  in  want.  Eldest 
son  of  JOHANN  SEBASTIAN,  who 
educated  him,  he  studied  at  the 
Thomassehule  and  won  honours  in 
mathematics  at  Leipsic  University. 
Organist  at  Dresden,  and  in  1747  at 
the  Liebfrauenkirche,  Halle,  he  was 
without  regular  employment  from 
1764,  when  he  resigned,  to  his  death, 
Berlin,  1784.  Johann  Christoph 
Friedrich,  "  the  Buckeburg  Bach," 
composed  operas,  oratorios,  and  pas- 
sion music;  chapelmaster  to  Count 
Schaumberg  at  BUckeburg.  B.  Leip- 
sic, June  25,  1732;  ninth  son  of 
JOHANN  SEBASTIAN;  d.  Jan.  26, 
1795.  Carl  Philip  Emanuel,  greatest 
of  the  sons  of  Johann  Sebastian,  is  dis- 
cussed in  a  special  article.  Johann 
Christian,  "the  Milanese  or  English 
Bach,"  composed  the  opera  "  Catone," 
performed  in  Milan,  1758;  conducted 
Mrs.  Cornely's  subscription  concerts 
in  London  with  Abel  from  1765  to 
1775,  when  they  established  their  own 
series,  lasting  until  1782;  taught 
music  to  English  Royal  family;  com- 
posed the  operas  "  Temistocle,"  "  Adri- 
an© in  Siria,"  "  Lucio  Silla,"  "La 
Clemenza  di  Scipione,"  and  much 
piano  music.  B.  Leipsic,  1735;  11th 
son  of  JOHANN  SEBASTIAN; 
studied  in  Berlin  with  his  brother 
C.  P.  Emanuel ;  visited  Naples,  Milan ; 
organist  Milan  Cathedral,  1760-62; 
d.  London,  Jan.  1,  1782.  Johann 
Gottfried  Bernhard  became  organist 
to  the  Marienkirche,  Miilhausen,  1735, 
and  the  following  year  of  the  Sanger- 
hausen  Jacobikirche.  B.  May  11, 
17 15 ;  son  of  JOHANN  SEBASTIAN ; 
d.  while  studying  law  at  Jena,  May 
27,  1739.  Wilhelm  Friedrich  Ernst 
composed  "  Huldigungs  cantata  "  in 
honour  of  the  accession  of  Frederick 
William  II  of  Prussia,  who  made  him 
cembalist  to  the  Queen,  taught  the 
royal  children  two  generations,  as- 
sisted with  his  wife  and  two  daughters 
at  dedication  of  monument  at  the 
Thomassehule,  Leipsic,  in  honour  of 
Johann  Sebastian;  B.  Buckeburg, 
May  27,  1759;  son  of  JOHANN 
CHRISTIAN   FRIEDRICH,   and  last 


of  the  descendants  of  the  Johann  Se- 
bastian Bachs  bearing  the  name;  d. 
Berlin,  Dec.  25,  1845. 

Bach    (Johann    Sebastian)    com- 
posed the   Passions  according  to  St. 
Matthew  and   St.   John,  which  have 
caused  most  works  along  these  lines 
to  be  forgotten;   organ  music  in  every 
form  which  has  never  been  excelled; 
brought  the  art  of  fugue  to  its  highest 
"perfection;    established  the  much  de- 
bated  system   of   equal   temperament 
with   his   "  Well   Tempered   Clavier," 
"  Das  Wohltemperirte  Clavier,"  which 
enforced  its  value  by  presenting  pre- 
ludes and  fugues  in  every  key;    revo- 
lutionized the  technique  of  keyboard 
instruments    by    first    bringing    into 
equal  play  the  little  finger  and  thumb ; 
threw  his  influence  in  favour  of  the 
harmonic   system   as  opposed  to   the 
church    modes;     invented    the    viola 
pomposa  and  the  Lauten-clavicymba- 
liun;    taught  with  distinguished  suc- 
cess, and  composed  chamber  music  in 
all  varieties.     Born   at   Eisenach   in 
Mar.,  1685,  baptized  Mar.  23,  the  son 
of  Johann  Ambrosius  Bach  and  Eliza- 
beth,  born   Lammerhit;     he   received 
violin   lessons   from   his   father,   but, 
being  left  an  orphan  at  the  age  of  ten, 
went  to  live  with  his  elder  brother, 
Johann   Christoph,   organist  at   Ohr- 
druf.    His  brother  taught  him  clavier, 
but  forbade  him  to  touch  a  manuscript 
collection  of  Buxtehude,   Frohberger, 
and  others,  and  when  the  lad  managed 
to   copy    it   by   moonlight   after    six 
months'  labour,  so  great  was  his  desire 
for  an  insight  into  the  best  music  of 
his  day,  t(X)k  it  from  him.     He  had 
attended  the  local  lyoeum,  but  at  15  he 
was  admitted  a  free   scholar  at   St. 
Michael's    Liineberg,    because    of    his 
lovely  soprano  voice.    There  he  studied 
organ  with  B5hm  and  made  excursions 
to  hear  Reinken  at  Hamburg  and  to 
Celle,    where    the    French    composers 
were  in  fashion.    At  18  he  joined  the 
band  of  Prince  Johann  Ernst  at  Wei- 
mar, and  a  few  months  later  became 
organist  of  the  new  church  at  Am- 
stadt.     He  walked  to  Lubeck  to  hear 
Buxtehude   play  the  organ,    and   re- 
mained until  the  church  authorities  re- 
called him  to  Amstadt.     1707  found 


BACH 


33 


BACH 


him  organist  of  St.  Blasiua  Church, 
Mfilhausen,  and  Oct.  17  of  that  year  he 
married  his  cousin  Maria  Barbara.  Of 
their  seven  children  only  a  daughter, 
Wilhelm  Friedemann,  and  Carl  Philip 
Emanuel  survived  infancy.  In  1708 
he  became  organist  to  the  court 
of  Weimar;  in  1714  concertmeister, 
and  then  he  undertook  a  series  of 
concert  tours.  One  of  these  took  him 
to  Dresden  in  1717  where  Marchand, 
a  famous  French  organist,  accepted 
his  challenge  to  a  contest  in  music, 
but  fled  before  the  appointed  time, 
leaving  Bach  in  possession.  The  same 
year  he  was  made  chapelmaster  to 
Prince  Leopold  of  Anhalt-Cothen  at 
400  thalers  per  annum,  and,  while 
holding  this  ofSce,  produced  a  quantity 
of  chamber  music.  Between  1718-20 
Bach  accompanied  the  Prince  to  Carls- 
bad. During  this  absence  from  home 
his  wife  died.  Bach  then  applied  for 
the  position  of  organist  at  the 
Jacobskirche,  Hamburg,  but  an  un- 
known musician  offered  4000  marks 
for  the  oflSce  —  and  got  it.  In  1721 
he  married  Anna  Magdalene  Willken, 
daughter  of  the  Weissenfels  court 
trumpeter.  Thirteen  children  were 
born  of  the  marriage,  of  whom  only  Jo- 
hann  Christoph  Friedrich  and  Johann 
Christian  survived  him.  The  period  of 
Bach's  greatest  activity  began  with 
1723,  when  he  became  cantor  at  the 
Thomasschule  and  organist  and  music 
director  at  the  Thomaskirche  and 
Nicolaikirche,  Leipsic,  where  he  re- 
mained in  service  27  years.  His  duties 
left  him  ample  time  for  composition. 
His  Passions  and  the  famous  High 
Mass  in  B  minor  were  written  for  the 
Leipsic  churches.  He  was  recognized 
as  one  of  the  leading  men  of  the  com- 
munity and  mingled  on  pleasant  terms 
with  the  best  society.  In  1736  he  was 
made  honorary  chapelmaster  to  the 
Elector  of  Saxony,  and  in  1747  visited 
Frederick  the  Great  at  Berlin,  where 
his  son,  C.  P.  Emanuel,  was  court 
cembalist.  The  king  made  him  test  all 
the  pianos  and  organs,  and  gave  him  a 
theme  to  work  out  which,  on  his  re- 
turn home,  Bach  developed  and  dedi- 
cated to  Frederick  as  "  Musikalisehes 
Opfer."     Hard  work   in   copying  re- 


sulted in  the  failure  of  Baeh's  eyes. 
Two  operations  failed  to  restore  his 
vision,  but  suddenly,  July  18,  1750, 
sight  was  restored  him.  Ten  days  later 
he  died.  "  Vor  deinen  Thron  tret'  ich 
hiemit,"  a  choral,  was  completed 
shortly  before  his  death.  Bach's  pu- 
pils included  Altnikol,  Ludwig  Krebs, 
Johann  Caspar  Yogler,  Agricola,  and 
Marpurg.  Despite  their  admiration, 
full  recognition  of  Bach's  merit  aa  a 
composer  was  deferred  until  Mendels- 
sohn, Schumann,  and  Chopin  blazoned 
it  to  the  world.  His  works  include 
Church  Cantatas.  Ach  Gott,  vom 
Himmel  sieh  darein;  Ach  Gott,  wie 
manches  Herzeleid;  Ach  Herr,  mich 
armen  Sunder;  Ach,  ich  sehe,  jetzt 
da  ich  zur  Hochzeit  gehe;  Ach,  lieben 
Christen,  seid  getrost;  Ach  wie  fluch- 
tig,  ach  wie  nichtig;  Allein  zu  dir, 
Herr  Jesu  Christ;  AUes  nur  nach 
Gottes  Willen;  Also  hat  Gott  die  Welt 
geliebt;  Am  Abend  aber  desselbigen 
Sabbaths;  Aergre  dich,  o  Seele,  nicht;  . 
Auf  Christi  Himmelfahrt  allein;  Aus 
der  der  Tiefe  rufe  ich,  Herr  zu  dir; 
Aus  tiefer  Noth  schrei  ich  zu  dir; 
Barmherziges  Herze  der  ewigen  Liebe; 
Bereitet  die  Wege,  bereitet  die  Bahn; 
Bisher  habt  ihr  nichts  gebeten  in 
meinem  Namen;  Bleib'  bei  uns,  denn 
es  will  Abend  werden;  Brich  dem  Hun- 
grigen  dein  Brod;  Bringet  dem  Herrn 
Ehre  seines  Namena;  Christ  lag  in 
Todesbanden;  Christ  unser  Herr  zum 
Jordan  kam;  Christen,  atzet  diesen 
Tag;  Christum  wir  sollen  loben  schon; 
Christus  der  ist  mein  Leben ;  Das  ist 
ie_  gewisslich  wahr;  Das  neugebor'ne 
Kindelein;  Dazu  ist  erschienen  der 
Sohn  Gottes;  Dem  Gerechten  musa 
das  Licht;  Denn  du  wirst  meine  Seele 
nicht  in  der  HSlle  lassen;  Der  Friede 
sei  mit  dir;  Der  Herr  denket  an  uns; 
Der  Herr  ist  mein  getreuer  Hirt ;  Der 
Himmel  lacht,  die  Erde  jubiliret;  Die 
Elenden  sollen  essen;  Die  Himmel 
erzahlen  die  Ehre  Gfottes;  Du  Friede- 
f first,  Herr  Jesu  Christ;  Du  Hirte 
Israel,  hSre;  Du  soUst  Gott,  deinen 
Herrn,  lieben;  Du  wahrer  Gott  und 
Davids  Sohn;  Ein'  feste  Burg  ist 
unaer  Gott;  Ein  Herz,  das  seinen 
Jesum  lebend  weiss;  Aeltere  Bearbei- 
tung    der    Kantatej     Ein    ungefarbt 


BACH 


33 


BACH 


Gemiithe;  Erforsche  mich,  Gott,  und 
erfahre  mein  Herz;  Erfreut  euch,  ihr 
Herzen;  Erfreute  Zeit  im  neuen 
Bunde;  Erhalt'  uns,  Herr,  bei  deinem 
Wort;  Brhohtea  Fleisch  und  Blut; 
Er  rufet  seinen  Schafen  mit  Namen; 
Erschallet,  ihr  Lieder;  Erwunachtea 
Freudenlicht ;  Es  erhub  sich  ein 
Streit;  Es  ist  das  Heil  uns  kommen 
her;  Es  ist  dir  gesagt,  Mensoh,  was 
gut  ist;  Es  ist  ein  trotzig  und  ver- 
zagt  Bing;  Es  ist  euch  gut,  dass  ich 
hingehe;  Es  ist  niohta  Gesundes  an 
meinem  Leibe;  Es  reifet  euch  ein 
schrecklich  Ende;  Es  wartet  alles  auf 
dich;  Falsche  Welt,  dir  trau'  ich 
nicht;  Preue  dich,  erloste  Schaar; 
Geist  und  Seele  wird  verwirret;  Ge- 
lobet  sei  der  Herr,  mein  Gott ;  Gelobet 
seist  du,  Jesu  Christ;  Gleieh  wie  der 
Regen  und  Sehnee;  Gloria  in  excelsis 
Deo;  Gott  der  Herr  ist  Sonn'  und 
Schild;  Gott  fahret  auf  mit  Jauchzen; 
Gott  ist  mein  Konig;  Gott  ist  unsre 
Zuzersieht;  Gott,  man  lobt  dich  in 
der  Stille ;  Gott  soil  allein  mein  Herze 
haben;  Gott,  wie  dein  Name,  so  ist 
aueh  dein  Ruhm;  Gottes  Zeit  ist  die 
allerbeste  Zeit;  Gottlob;  nun  geht 
das  Jahr  zu  Ende;  Halt'  im  Gedacht- 
nis  Jeaum  Christ;  Herr  Christ,  der 
ein'ge  Gbttessohn;  Herr,  deine  Augen 
sehen  nach  dem  Glauben;  Herr,  gehe 
nicht  in's  Gtericht;  Herr  Gott,  Be- 
herrscher  aller  Dinge;  Herr  Gott,  dich 
loben  alle  wir;  Herr  Gott,  dich  loben 
wir;  Herr  Jesu  Christ,  du  hochstes 
Gut;  Herr  Jesu  Christ,  wahr'r  Mensch 
und  Gott;  Herr,  wie  du  willst,  so 
Schick's  mit  mir;  Herz  und  Mund  und 
That  und  Leben;  HimmelskSnig,  sei 
willkommen;  Hochsterwninschtes  Freu- 
denfest;  Ich  armer  Mensch,  ich  Sun- 
denknecht;  Ich  bin  ein  guter  Hirt; 
Ich  bin  vergnugt  mit  meinem  Glucke; 
Ich  elender  Mensch,  wer  wird  mich 
erlSsen;  Ich  freue  mich  in  dir;  Ich 
geh'  und  suche  mit  Verlangen;  Ich 
glaube,  lieber  Herr ;  Ich  hab'  in  Gottes 
Herz  und  Sinn;  Ich  habe  genug;  Ich 
habe  meine  Zuversicht;  Ich  hatte  viel 
Bekilmmernis;  Ich  lasae  dich  nicht, 
du  segnest  mich  denn;  Ich  liebe  den 
Hochsten  von  ganzem  Gemiithe;  Ich 
ruf  zu  dir,  Herr  Jesu  Chriat;  Ich 
steh'  mit  einem  Fusa  im  Grabe;    Ich 


weias,  dass  mein  ErlQser  lebt ;  Ich  will 
den  Kreuzstab  gerne  tragen;  Ihr,  die 
ihr  euch  von  Christo  nennt;  Ihr 
Menschen,  riihmet  Gottes  Liebe;  Ihr 
Pforten  zu  Zion;  Ihr  werdet  weinen 
und  heulen;  In  alien  meinen  Thaten; 
Jauchzet  Gott  in  alien  Landen;  Jesu, 
der  du  meine  Seele;  Jeau,  nun  sei 
gepreiset;  Jesus  nahm  zu  aich  die 
Zwolfe;  Jesus  schlaft,  was  soil  ich 
hoffen?  Komm,  du  siiase  Todesstunde; 
Leichtgesinnte  Plattergeister ;  Lieb- 
ster  Gott,  wann  werd'  ich  aterben? 
Liebster  Immanuel,  Herzog  der  From- 
men;  Liebster  Jesu,  mein  Verlangen; 
Lobe  den  Herren,  den  machtigen  Konig 
der  Ehren;  Lobe  den  Herrn,  meine 
Seele;  Lobet  Gott  in  seinen  Eeiehen; 
Mache  dich,  mein  Geist,  bereit;  Man 
singet  mit  Freuden  vom  Sieg;  Mein 
Gott,  wie  lang',  ach  lange;  Mein 
liebster  Jesus  ist  verloren;  Meine 
Seel'  erhebt  den  Herren!  Mein  Seele 
rQhmt  und  preist;  Meine  Seufzer, 
meine  Thranen;  Meinen' Jeaum  laas' 
ich  nicht;  Mit  Fried'  und  Freud'  ich 
fahr'  dahin;  Mit  Gnaden  bekrijne  der 
Himmel  die  Zeiten;  Nach  dir,  Herr, 
verlanget  mich ;  Nimm  von  uns,  Herr, 
du  treuer  Gott;  Nimm,  waa  dein  ist; 
Nun  danket  alle  Gott;  Nun  ist  das 
Heil  und  die  Kraft;  Nun  komm,  der 
Heiden  Heiland;  Nur  Jedem  das 
Seine;  O  ewiges  Feuer,  o  Uraprung 
der  Liebe;  O  Ewigkeit,  du  Donner- 
wort;  0  heil'ges  Geist-  und  Wasser- 
bad;  O  Jesu  Christ,  mein's  Lebens 
Licht;  Preise,  Jerusalem,  den  Herrn; 
Schau,  lieber  Gott,  wie  meine  Feind'; 
Schauet  doch  und  sehet,  ob  irgend 
ein  Schmerz  sei;  Schlage  doch,  ge- 
wiinsehte  Stunde;  Sehmucke  dich,  o 
liebe  Seele;  Schwingt  freudig  euch 
empor;  Sehet,  welch'  eine  Liebe; 
Sehet,  wir  gehn  hinauf  gen  Jerusa- 
lem ;  Sei  Lob  und  Ehr  dem  hSchsten 
Gut;  Selig  ist  der  Mann;  Sie  werden 
aus  Saba  Alle  kommen;  Sie  werden 
euch  in  den  Bann  thun;  Siehe,  ich 
will  viel  Fischer  auasenden;  Siehe  zu, 
dasa  deine  GottesfuTcht;  Singet  dem 
Herrn  ein  neues  Lied  (Lobe,  Zion, 
deinen  Gott)  ;  So  du  mit  deinem 
Munde;  Sttsser  Trost,  mein  Jesus 
kommt;  Thue  Rechnung!  Donner- 
wort;    Trauer-Ode    auf    das    Ableben 


BACH  34  BACH 

der  Gemahlin  Augusts  des  Starken;  sprenget,  zertrummert  die  Gruft.  Der 
Tritt  auf  die  Glaubensbalin ;  Uns  ist  zufrieden  gestellte  Aeolus.  Motets, 
ein  Kind  geboren;  Unser  Mund  sei  Der  Geist  hilft  unsrer  Schwachheit 
vol!  Lachena;  Vergnugte  Euh',  be-  auf;  Piirchte  dioh  nicht,  ieh  bin  bei 
liebte  Seelenlust;  Wachet  auf,  ruft  dir;  Ieh  lasse  dich  nieht,  du  segnest 
uns  die  Stimme;  Wachet,  betet,  seid  mich  denn;  Jesu,  meine  Freude; 
bereit  allezeit;  Wahrlich,  ieh  sage  Komm,  Jesu,  komm;  Lobet  den  Herrn, 
euch;  War'  Gott  nieht  mit  uns  diese  alle  Heiden;  Sei  Lob  und  Preis  mit 
Zeit;  Warum  betrubst  du  dich,  mein  Ehren;  Singet  dem  Herrn  ein  neues 
Herz;  Was  frag"  ieh  nach  der  Welt;  Lied.  Oratorios.  Easter  Oratorio; 
Was  Gott  thut,  das  ist  wohlgethan;  Christmas  Oratorio.  Masses.  Grand 
Was  mein  Gott  will,  das  g'scheh'  all-  Mass  in  B  minor;  Mass  in  P  major; 
zeit;  Was  soil  ieh  aus  dir  machen,  Mass  in  A  major;  Mass  in  G  minor; 
Ephraim?  Was  willst  du  dich  be-  Mass  in  G  major;  Magnificat  in  D 
triiben;  Weinen,  Klagen,  Sorgen,  major;  5  Sanetus  in  C  major,  D 
Zagen;  Wer  da  glaubet  und  getauft  major,  D  minor,  G  major,  D  major, 
wird;  Wer  Dank  opfert,  der  preiset  Passion  Music.  St.  John  Pas- 
mioh;  Wer  mich  liebet,  der  wird  sion;  St.  Matthew  Passion;  St. 
mein  Wort  halten;  Wer  nur  den  Matthew  Passion;  St.  Luke  Passion 
lieben  Gott  lasst  walten;  Wer  sich  (from  the  Bach  MSS.,  composer  not 
selbst  erhShet,  der  soil  emiedriget  ascertained ) .  Songs  and  Arias. 
werden;  Wer  weiss,  wie  nahe  mir  Sacred  Songs  and  Arias  from  the 
mein  Ende ;  Widerstehe  doch  der  "  Schemelli's  Gesangbuch "  and  the 
Sunde ;  Wie  schon  leuchtet  der  Mor-  "  Notenbuch ''  of  Anna  Magdalena 
genstern;  Wir  danken  dir,  Gott,  wir  Bach;  Chorales  for  mixed  Voices, 
danken  dir;  Wir  miissen  durch  viel  Overtures  (Suites).  C  major,  B 
Triibsal;  Wo  gehest  du  hin;  Wo  minor,  D  major,  D  major.  Concertos. 
Gott  der.  Herr  nicht  bei  uns  halt;  F  major,  F  major,  G  major,  G  major, 
Wo  soil  ieh  fliehen  hin;  Wohl  dem,  B  flat  major;  Concertos  for  one 
der  sich  auf  seinen  Gott.  Secular  Piano:  D  minor,  E  major,  T>  major. 
Cantatas.  Amore  traditore;  Ange-  A  major,  F  minor,  G  minor,  F  major, 
nehmes  Wiederau.  Dramma  per  mu-  A  minor,  D  major;  Concertos  for  two 
sica;  Auf,  schmetternde  Tone.  Drama  Pianos:  C  minor,  C  major,  C  minor; 
zum  Namenstage  Augusts  III ;  Gesch-  Concertos  for  three  Pianos ;  D  minor, 
winde,  ihr  wirbelnden  Winde.  Der  C  major;  Concertos  for  four  Pianos: 
Streit  zwischen  Phoebus  und  Pan;  A  minor;  Concertos  for  Violin:  A 
Hochsterwunschtes  Freudenfest;  Ieh  minor,  E  major,  D  minor.  Symphony 
bin  in  mir  vergniit.  Von  der  Ver-  Movements  in  D  major.  Chamber 
gnugsamkeit;  Lasst  uns  sorgen,  lasst  Music.  For  Violin  Solo:  Sonata  in 
uns  wachen.  Die  Wahl  des  Herkules;  G  minor;  Sonata  in  B  minor;  So- 
Mer  hahn  en  neue  Oberkeet;  Mit  nata  in  A  minor;  Sonata  in  D  minor; 
Gnaden  bekrone  der  Himmel  die  Zei-  Sonata  in  C  major;  Sonata  in  E 
ten;  0  angenehme  Melodei;  O  holder  major.  For  Pianoforte  and  Violin: 
Tag,  erwiinschte  Zeit;  Non  so  che  sia  Suite  in  A  major;  Sonata  in  B  minor; 
Dolore;  Preiae  dein  Gliick ;  Schleicht,  Sonata  in  A  major;  Sonata  in  B 
spielende  Wellen.  Drama  auf  das  major;  Sonata  in  C  minor;  Sonata 
Geburtsfest  Augusts  III;  Schweigt,  in  F  minor;  Sonata  in  G  major; 
stille,  plaudert  nieht.  Kaffee-Kantate ;  Sonata  in  E  minor ;  Fugue  in  D 
Schwingt  freudig  euch  empor.  Die  minor.  For  Pianoforte  and  Flute: 
Freude  reget  sich;  Tonet,  ihr  Pauken!  Sonata  in  B  minor;  Sonata  in  E  flat 
Erschallet,  Trompeten.  Dramma  per  major;  Sonata  in  A  major;  Sonata 
musica;  Vereinigte  Zwietraeht  der  in  C  major;  Sonata  in  E  minor; 
wechselnden  Saiten.  Dramma  zu  einer  Sonata  in  E  major.  For  Violoncello 
Universitatsfeier ;  Was  mir  behagt,  ist  Solo:  Suite  in  G  major;  Suite  in 
nur  die  muntre  Jagd;  Weiehet  nur,  D  minor;  Suite  in  C  major;  Suite 
betrubte     Schatten;     Zerreisset,     zer-    in  E  flat  major;    Suite  in  C  minor; 


BACH                          35  BACH 

Suite  in  D  major.  For  Pianoforte  Clavier,  vol.  II.;  3  Toccatas,  Fugue 
and  Viola  da  gamba  or  'Cello:  So-  in  A  minor,  Fantasia  and  Fugue  in 
nata  in  6  major;  Sonata  in  D  major;  A  minor,  Chromatic  Fantasia  and 
Sonata  in  G  minor;  Sonata  in  C  Fugue  in  D  minor,  2  Fantasias,  Pre- 
major  for  two  Violins  and  Pianoforte;  lude  and  Fugue  in  E  flat,  2  Preludes 
Sonata  in  G  major  for  Flute,  Violin  and  Fughettas,  2  Fugues  in  C,  3 
and  Pianoforte ;  Sonata  from  "  Mu-  Fugues  in  C  minor,  E  minor,  D  minor ; 
sikalisches  Opfer  "  for  Flute,  Violin  Suites  in  A  minor  and  in  E  flat,  Over- 
and  Pianoforte.  Organ  Works.  Pre-  ture  (Suite)  in  F,  Sonata  in  D,  Fan- 
ludes  and  Fugues  in  C  major,  C  minor,  tasia  and  Fugue  in  D,  Toccatas  in 
C  major,  A  minor,  E  minor,  B  minor,  E  minor  and  G,  Toccata  and  Fugue, 
A  major,  G  major,  E  flat,  D  major.  Prelude  and  Fugue  in  E  flat,  A  minor, 
D  minor,  F  minor,  G  minor;  Fan-  A  minor.  Prelude  and  Fughetta  in  F, 
tasias  and  Fugues  in  G  minor,  C  G;  6  Preludes,  Prelude  in  C,  Prelude 
minor,  A  minor;  Toccatas  and  Fugues  (Fantasia)  in  A  minor,  Aria  variata 
in  F  major,  E  major,  D  minor,  C  in  A  minor;  Prelude  (Fantasia)  in 
major,  D  minor;  Preludes  and  Fugues  C  minor.  Fantasia  in  G  minor. — 
in  G  major,  E  minor,  A  minor,  C  Fantasia  on  a  Rondo  in  C  minor, 
major,  C  minor;  Eight  short  Pre-  Fugues  in  C  min.  A.,  C,  A  min.,  D 
ludes  and  Fugues  in  C  major,  D  min.,  A.  Fugues  on  a  theme  of  Al- 
minor,  E  minor,  F  majqr,  G  major,  binoni  in  A  a  B  min.  Capriccios  in 
G  minor,  A  minor  and  B  flat  major;  E.  3  Minuets  in  G;  Sonata  in  D 
Prelude  in  C  major;  Prelude  in  G  min..  Suite  in  E.  Adagio  in  G.  So- 
major;  Prelude  in  A  minor;  Fugues  nata  in  A  min.  2  Fugues  in  B  flat. 
in  C  minor,  C  minor,  G  major,  6  16  Concertos  according  Concertos  by 
major,  G  minor,  B  minor ;  Ganzona  in  Benedetto  Marcello,  G  Ph.  Telemann, 
D  minor;  Allabreve  in  D  major;  A.  Vivaldi.  See:  Spitta's  J.  S.  Bach, 
Fantasias  in  C  major,  C  minor,  G  2  vols.,  1873-80,  Leipsic;  trans.  Eng- 
major,  G  major,  B  minor;  Pastorale  lish,  Clara  Bell  ajid  J.  A.  Fuller  Mait- 
in  F  major;  Trio  in  D  minor;  Con-  land,  London,  1884;  "  Euber  Bach's 
certo  in  G  major;  Concerto  in  A  Leben,  Kunst  und  Kunstwerke,"  Hil- 
minor;  Concerto  in  C  major;  Con-  genfelt;  trans.  English,  Samuel  Wes- 
certo  movement  in  C  major;  Passa-  ley,  1820;  "Life,"  Miss  Shuttleworth; 
caglia  in  C  minor;  Sonatas  I.,  in  E  and  the  annual  publications  of  the 
flat  major,  II.,  in  C  minor.  III.,  in  Bach  Gesellschaft. 
D  minor,  IV.,  in  E  minor,  V.,  in  C  Bach  (Carl  Philip  Emanuel)  com- 
major,  VI.,  in  G  major;  "Orgel-  posed  symphonies,  sonatas,  instru- 
bfichlein,"  46  short  Prel.  to  Chorales;  mental  pieces,  etc.,  with  such  grace 
Variations  on  Chorale :  "  Christ  der  and  skill  that  he  was  for  a  time  deemed 
du  bist  der  helle  Tag";  Variations  the  superior  of  his  illustrious  father, 
on  Chorale:  "O  Gott,  du  frommer  JOHAKN  SEBASTIAN;  wrote  "Ver- 
Gott " ;  Variations  on  Chorale :  "  Sei  such  uber  die  wahre  Art  das  Clavier 
gegrOsset  Jesu  gutig!  ";  Variations  zu  spielen,"  setting  forth  the  prin- 
in  Canon  Form  on :  "  Vom  Himmel  ciples  of  Johann  Sebastian,  describing 
hoch  da  komm  ich  her " ;  Chorale  the  ornaments  employed.  This  book 
Preludes  on  melody-texts  by  A — J;  may  be  said  to  have  directed  the  de- 
Chorale  Preludes  on  melody-texts  by  velopment  of  modern  piano  playing. 
K— W ;  Piano  ("  Clavier  ").  Pre-  B.  Mar.  8,  1714,  Weimar,  called  the 
ludes.  Inventions,  Cappriccio,  Suites ;  "  Berlin  "  or  "  Hamburg  "  Bach ;  edu- 
Six  English  Suites;  Klavier-Uebung.  cated  at  Thomassehule ;  studied  law 
Six  Partitas ;  Klavier-Uebung.  Ital-  at  Leipsic  and  Frankfort  universities ; 
ian  Concerto.  The  "  Partita "  or  entered  service  of  Frederick  of  Prus- 
Prench  Overture,  four  Duets,  Aria  sia,  1738,  with  whom  he  remained 
with  30  Variations  ( "  Goldberger  until  1767,  when  called  to  Hamburg  in 
Variations " )  ;  The  Well  Tempered  succession  to  Telemann.  Composed 
Clavier,  vol.  I.;    The  Well  Tempered  oratorios   "Die    Israeliten    in   der 


BACH  CHOIB,  36 

Wuste,"  "  Die  Auferstehung  und  Him- 
melfahrt  Jesu,"  22  Passions,  210  solo 
pieces.    D.  1788. 

Bach  Choir  was  organized  in  Lon- 
don, 1875,  for  the  performance  of  the 
High  Mass  in  B  minor.  Otto  Gold- 
schmidt.  Sir  C.  Villiers  Stanford,  and 
Dr.  H.  Walford  Davies  have  been  the 
conductors,  and  much  excellent  classic 
music  has  been  revealed  to  English 
ears  by  it. 

Bach  Festivals.  See  MORAVIAN 
CHOIRS. 

Bach  Gesellschaft  was  formed  by- 
Schumann,  Hauptmann,  Otto  Jahn, 
C.  F.  Becker,  aided  by  Breitkopf  & 
Hartel,  and  approved  by  Spohr,  Liszt, 
etc.,  to  publish  all  authentic  works  of 
Johann  Sebastian  Bach.  This  excel- 
lent purpose  was  accomplished  after 
46  annual  publications.  The  "  Neue 
Bach  Gesellschaft "  was  then  formed 
to  publish  the  complete  issue  in  piano 
score. 

Bach  Society  was  formed  in  Lon- 
don, Oct.  27,  1849,  to  collect  the  com- 
positions of  J.  S.  Bach,  or  books  or 
MS.  bearing  on  his  life  and  work.  The 
collection  passed  into  the  custody  of 
the  Royal  Academy  of  Music  when  the 
society  disbanded.  Mar.  21,  1870. 

Bache  (Francis  Edward)  composed 
unpublished  operas  "  Rubezahl  "  and 
"  Which  is  Which,"  an  overture  and 
piano  music.  B.  Birmingham,  Eng., 
Sept.  14,  1833;   d.  Aug.  24,  1858. 

Bache  (Walter)  gave  concerts  at 
which  important  works  of  Liszt  were 
first  heard  in  London;  taught  piano. 
Royal  Academy  of  Music.  B.  Birming- 
ham, Eng.,  June  19,  1842;  younger 
brother,  FRANCIS  EDWARD,  d.  Lon- 
don, Mar.  26,  1888.  See  "  Brother 
Musicians,''  memoir  by  their  sister 
Constance  Bache,  London,  1901. 

Bachmann  (Sixtus)  composed 
masses;  boyish  rival  of  Mozart  as  or- 
ganist. B.  July  18,  1754,  Ketter- 
hausen,  Bavaria ;  entered  the  Church ; 
d.  near  Vienna,  1818. 

Bachofen  (Johann  Caspar)  com- 
posed hymns  and  taught  in  Zurich; 
directed  "  Chorherrn  Gresellschaft." 
B.  Zurich,  1697;    d.  1755. 

Back.  Lower  part  of  the  sounding 
box  of  string  instruments,  connected 


BAGPIPES 


in  viols  to  the  sounding  board  or 
belly  by  a  sound  post  set  beneath  the 
bridge.  Its  construction  and  material 
vitally  affect  the  quality  of  the  tone 
produced. 

Back  Choir  Organ.  Permits  the 
player  to  sit  with  his  back  to  the 
instrument;    RUCHPOSITIV. 

Backer-G-rondahl  (Agathe  TJr- 
sula)  composed  songs  and  played 
piano;  pupil  of  Kjerulf,  Kullak,  and 
Balow;  m.  O.  A.  Grondahl,  Christi- 
ana, 1775.  B.-  Holmestrand,  Norway, 
Dec.  1,  1847;   add.  Christiana. 

Backfall.  Harpsichord  or  lute 
agremens. 

Bacon  (Richard  IVlackenzie) 
founded  the  Norwich  (Eng.)  Trien- 
nial Musical  Festival,  1824;  wrote 
music  criticism ;  edited  "  Quarterly 
Musical  Magazine  and  Review,"  Eng- 
land's first  music  periodical,  and  the 
Norwich  Mercury.  B.  Norwich,  May  1, 
1776;    d.  Nov.  27,  1844. 

Badiali  (Cesare)  composed  songs, 
sang  bass  with  distinction  in  opera  at 
Milan,  Vienna,  etc.  Debut,  Trieste, 
1827;    d.  Imola,  Nov.  17,  1865. 

Badinage.     Fr.     Playfulness. 

Bagatelle.    Fr.    "  A  trifle,"  sketch. 

Bagge  (Selmar)  wrote  music  criti- 
cism and  composed;  taught  composi- 
tion, Vienna  Conservatory.  B.  June 
30,  1823 ;  son  of  the  rector  of  the  Co- 
burg  gymnase;  d.  July  17,  1896, 
Basle. 

Bagpipes  were  played  by  the  an- 
cient Greeks ;  were  the  martial  instru- 
ments of  Roman  armies;  during  the 
middle  ages  were  common  in  every 
part  of  Europe  for  religious  as  well  as 
secular  music,  but  have  gradually  dis- 
appeared with  the  advance  of  musical 
culture  in  most  civilized  countries. 
The  characteristics  of  all  bagpipes, 
whether  in  remote  Asia,  where  the  in- 
strument doubtless  originated  and  is 
still  played,  in  Calabria  or  Scotland, 
are  the  windchest  or  bag,  the  chaunter 
or  melody  pipe,  and  the  drones  or  fixed 
pipes.  In  all  cases  the  pipes  are  fitted 
with  reeds.  The  compass  and  scale  of 
bagpipes  differ  with  the  country  of 
their  origin.  The  modern  Irish  bag- 
pipe, which  is  the  most  perfect  and 
elaborate  now  in  use,  has  seven  finger 


BAGrTJETTE 


37 


BALEE 


holes,  a  thumb  hole,  and  eight  keys 
with  a  chromatic  scale  from  d '  to  d  "  ' 
on  the  chaunter,  and  four  drones.  The 
scale  of  the  Highland  bagpipe  is  neither 
diatonic  nor  equal  tempered,  but  rather 
akin  to  certain  oriental  modes. 

Baguette.     Fr.    Drumstick. 

Bai  (Tammaso)  composed  a  "  Mis- 
erere "  ranked  with  those  of  Pales- 
trina  and  AUegri ;  chapelmaster  of  the 
Vatican.  B.  Crevalcuore,  near  Bo- 
logna;  d.  Dec.  22,  1714. 

Baildon  (Joseph.)  won  a  Catch 
Club  prize,  1763,  with  his  glee  "  When 
Gay  Bacchus  Fills  My  Breast " ;  pub- 
lished collections  of  songs;  sang  in 
Eng.  Chapel  Boyal.  B.  about  1727; 
d.  May  7,  1774. 

Baillot  (Pierre  Marie  Frangois  de 
Sales)  composed  extensively  for  vio- 
lin; compiled  and  edited  "  Methode  de 
Violon"  with  Rod&  and  Kreutzer; 
ranked  with  the  greatest  of  French 
violinists  and  was  the  last  exponent  of 
the  classic  style  taught  in  Paris  before 
the  Paganini  furore;  wrote  "Art  du 
Violon,"  1834.  B.  Oct.  1,  1771,  Passy, 
near  Paris;   d.  Sept.  15,  1842. 

Baini  (Giuseppe)  wrote  "  Memorie 
Storico  Critiche  "  (Rome,  1828) ,  which 
is  at  once  a  biography  of  Falestrina 
and  a  review  of  his  compositions,  and 
other  works  on  music;  composed  a 
ten-part  "  Miserere,"  still  sung  in 
the  Pontifical  Chapel,  Rome,  of  which 
he  was  master.  B.  Rome,  Oct.  21, 
177S;  entered  the  Church;  d.  May  21, 
1844. 

Baisser.    Fr.  To  lower. 

Baker  (George)  played  violin, 
organ;  composed.  B.  Exeter,  Eng., 
1773;    d.  Feb.  19,  1847. 

Baker  (Theodore,  Ph.D.)  wrote 
"  Dictionary  of  Musicians,"  "  Diction- 
ary of  Music,"  etc.;  acted  as  literary 
adviser  and  edited  for  Schirmer  & 
Co.;    add.  New  York  City. 

Balafo.    An  African  XYLOPHONE. 

Balalaika.  Crude  two-stringed 
guitar  used  by  Russian  peasants. 

Balakirev  (llily  Alexeivich)  or- 
ganized what  is  called  the  New  Rus- 
sian School;  founded  the  Free  School 
of  Music  in  St.  Petersburg,  1862,  aided 
by  Lomakin  and  Von  Stassov;  com- 
posed the  symphonic  poem  "  Tamara," 


overtures,  a  symphony;  published  col- 
lection of  folk  songs.  B.  Nijny- 
Novgorod,  Dec.  31,  1836;  chapel- 
master to  the  Czar,  1867;  add.  St. 
Petersburg. 

Balancement.     Fr.    Tremolo. 

Balatka  (Hans)  composed  can- 
tatas; founded  Milwaukee  Musikve- 
rein,  1860;  conducted  Chicago  Phil- 
harmonic Society.  B.  HofTnungsthal, 
Moravia,  1827;    d.  Chicago,  1899. 

Balbi  (Lodovico)  composed  church 
music;  directed  in  Venice  and  Padua; 
Venetian  monk,  16th  century. 

Baldassarri  (Benedetto)  created 
ten.  rSle  of  Timante  in  Handel's  opera 
"  Floridante." 

Baldenecker  (Nicolaus)  founded 
amateur  concerts  with  Schelble,  from 
which  the  Frankfort  Caecilien-Verein 
was  developed.  B.  Mayence,  1782; 
first  violin  Frankfort  Theatre,  1803-51. 

Baldi  sang  counter  ten.  in  operas 
of  Handel  and  Bononcini,  1725-28. 

Balelli  sang  bass  in  Italian  opera, 
1785-88. 

Balf  e  (IVIichael  William)  composed 
"  BOHEMIAN  GIRL,"  and  in  all  31 
operas,  several  of  which  were  success- 
ful in  France  and  Germany.  Born  in 
Dublin,  May  15,  1808,  son  of  a  dancing 
master,  he  composed  a  polacca  for  band 
at  seven,  gave  a  violin  concert  at  nine, 
and  wrote  a  popular  ballad;  became 
pupil  of  Charles  Edward  Horn  in  Lon- 
don, 1825;  played  violin  and  some- 
times led  the  Ihrury  Lane  orchestra; 
went  to  Italy  under  the  patronage  of 
Count  Mazzara,  1825.  "  La  Peruse," 
a  ballet  written  during  this  period,  was 
favourably  received.  Then  he  visited 
Rossini  in  Paris,  who  promised  him  an 
appointment  as  baritone  at  the  Italian 
Opera,  and  after  lessons  from  Bor- 
dogni,  he  made  a  successful  debut 
there  in  1827  as  Figaro  in  the  "  Barber 
of  Seville."  "  I  Rivali  di  se  stessi,"  his 
first  opera  was  written  in  20  days 
during  an  engagement  at  Palermo, 
1829-30.  There  too  he  married  Lina 
Rosa,  a  Hungarian  singer.  "  The  Siege 
of  Rochelle,"  first  of  his  English  operas, 
met  with  success  at  Drury  Lane,  1835, 
then  came  "  The  Maid  of  Artois,"  con- 
taining "  The  Light  of  Other.  Days," 
immortalized  by  Malibran.    He  sang, 


BALFE  38 

composed,  made  a  fiasco  as  manager  of 
the  Lyceum  Theatre,  and  then  went  to 
Paris,  where  he  produced  two  works  at 
the  Op6ra  Comique.  In  1843  he  re- 
turned to  England  and  produced  "  Bo- 
hemian Girl,"  which  still  holds  its 
place  in  popular  affection  with  Ger- 
man, French,  and  Italian,  as  well  as 
with  English  audiences,  and  which,  ex- 
panded to  five  acts,  was  performed  at 
the  Opera  Gomique,  Paris,  1869.  Balfe 
died  Oct.  20,  1870,  at  his  country 
place,  Rowney  Abbey.  Others  of  his 
operas  are :  "  Geraldine,"  "  Castle  of 
Aymon,"  "  The  Maid  of  Honor,"  "  Pit- 
tore  e  Duca"  ("Moro"),  "Satanella," 
"  Bianca,"  "  The  Puritan's  Daughter," 
"  The  Armourer  of  Nantes,"  "  Blanche 
de  Nevers,"  "  The  Knight  of  the  Leop- 
ard "  (II  Talismano),  "The  Sleeping 
Queen,"  and  the  cantata  "  Mazeppa," 
etc. 

Balfe  (Victoire)  sang  in  Italian 
opera;  debut,  1857;  m.  Sir  John 
Crampton  and  later  Due  de  Frias; 
daughter    of    MICHAEL    WILLIAM. 

Balgetreter.    Oer.    Organ  blower. 

Balgzug.     Ger.    Bellows  stop. 

Balken.     Ger.    Bass  bar. 

Ballabile.    It.    Dance  music. 

Ballad  meant  originally  a  dance 
song  (/*.  ballata),  but  was  early  ap- 
plied to  the  narrative  verses,  some- 
times of  interminable  length,  sung  by 
the  Anglo-Saxon  "  Sceop "  or  bard, 
who  was  generally  the  author  of  both 
words  and  music.  Much  of  the  earliest 
ballad  verse  is  still  extant  for  the  in- 
spection of  the  curious,  but  the  musi- 
cal settings  have  been  lost.  The  sub- 
ject might  be  romantic,  historical,  reli- 
gious, sentimental,  or  satirical,  and 
the  numerous  collections  of  ballads 
throw  valuable  light  on  the  history  of 
the  times  in  which  they  were  written. 
Henry  VIII  found  a  royal  diversion 
in  ballad  making,  but  ballads  and 
their  makers  had  fallen  into  dis- 
repute in  Elizabeth's  reign,  and  at 
present  the  term  is  applied  to  street 
songs. 

Ballade.  An  indefinite  term  as  ap- 
plied to  instrumental  music,  although 
Chopin's  preserve  the  rhythm  of  6-4 
or  6-8  time. 

Ballad   Opera.     English   opera   of 


BALLO  IN  MASCHEBA 


which  "THE  BEGGAR'S  OPERA "^ 
was  a  type.  The  dialogue  is  spoken 
throughout,  and  the  songs  are  set  to 
ballad  tunes. 

Ballard  (Robert)  obtained  a  grant 
from  Henri  II  of  France  which  en- 
abled his  family  to  monopolize  music 
printing  in  that  kingdom  for  two 
centuries  ending  1766. 

Ballerina.    It.    Ballet  dancer. 

Ballata.  It.  A  song  tune  which 
may  be  danced. 

Ballatetta.    /*.    A  little  ballata. 

Ballet.  Fr.  Originally  a  dance  song 
with  vocal  harmonies,  the  ballet  de- 
veloped along  the  lines  of  the  masque, 
including  songs,  dances,  and  a  connect- 
ing spoken  dialogue;  but  in  modern 
terms  ballet  means  either  one  of  two 
things  —  a  pantomimic  play,  telling  a 
complete  story  by  dancing  and  gesticu- 
lation to  elaborate  musical  accompani- 
ment, such  as  Bayer's  "Die  Puppenfee" 
or  Delibes'  "  Coppflia,"  or  the  dancing 
divertissement  associated  vdth  grand 
opera.  The  court  ballets  at  which 
Louis  XIV  played  guitar,  sang,  and 
danced  belonged  to  the  earlier  or 
masque  type.  Ballets  exclusively  of 
dancing  began  with  the  foundation 
of  the  Acad&nie  Royal  de  Musique, 
at  which  the  courtiers  were  permitted 
to  take  part  "  without  derogation  of 
their  nobility."  The  dramatic  ballet 
is  said  to  have  been  invented  by  the 
Duchess  of  Maine,  and  her  chapelmas- 
ter,  Mouret,  composed  several  for  the 
Academic  in  which  the  dancing  was 
assigned  ladies  of  title.  From  the  time 
of  Lafontaine,  first  of  professional  bal- 
lerinas, the  ballet  has  continued  to  be 
an  indispensable  feature  in  opera  at 
the  French  capital,  although  it  is 
usually  slighted,  if  not  utterly  neg- 
lected, in  English-speaking  countries, 
and  is  not  regarded  as  indispensable 
elsewhere. 

Ballo  in  ISCaschera.  Daniel  Fran- 
cois Esprit  Auber's  opera  in  five  acts, 
to  book  by  Scribe,  was  first  produced 
at  the  Aeadgmie,  Paris,  Feb.  27,  1833, 
and  is  preferred  in  Germany  to  Verdi's 
opera  of  the  same  name,  which  it  in- 
spired. The  French  version  is  gener- 
ally called  "Gustavo  III,"  the  English, 
"  Gustavus  III."     In  the   year   1792 


BALLO  IN  MASCHERA 


39 


BASTBA 


Gustavus  111,  King  of  Sweden,  forms 
a  mutual  attachment  for  the  wife  of  his 
confidant,  AnkarstrSm,  who  has  dis- 
covered a  plot  against  the  king's  life, 
of  which  he  vainly  warns  him.  Kaul- 
bart,  the  minister,  desires  to  banish  a 
witch,  Arvedson,  who  is  said  to  com- 
pound love  philtres,  but,  unwilling  to 
commit  an  act  of  injustice,  Gustavus 
visits  the  witch  in  disguise.  Malwina, 
Ankarstrom's  wife,  is  seeking  a  potion 
to  release  her  from  her  infatuation  for 
Gustavus,  and  he  hears  the  witch  tell 
her  to  gather  an  herb  which  grows 
over  the  graves  of  criminals,  at  mid- 
night. When  she  leaves  the  witch  is 
required  to  tell  the  king's  fortune,  and 
warns  him  he  will  be  slain  by  the  man 
who  next  offers  him  his  hand.  Just 
then  Ankarstrom  enters,  seeking  the 
king,  and  they  shake  hands.  The 
lovers  meet  in  the  third  act,  but  An- 
karstrom, who  has  been  watching  over 
the  king's  safety,  appears  in  time  to 
prevent  the  conspirators  from  attack- 
ing him,  gives  the  king  his  cloak,  and 
promises  to  return  the  veiled  lady  to 
her  home.  The  conspirators  attack 
AnkarstrSm,  his  wife  loses  her  veil, 
he  recognizes  her,  then  turns  from  her 
and  promises  to  join  the  conspiracy. 
AnkaratrSm's  house  is  the  meeting 
place  of  the  conspirators.  Malwina  is 
chosen  to  draw  the  lots  which  shall 
decide  who  is  to  kill  Gustavus,  and 
that  duty  devolves  upon  her  husband. 
Oswald,  the  king's  page,  brings  an  in- 
vitation to  a  masked  ball,  and  there 
it  is  determined  Gustavus  shall  die. 
The  last  act  represents  the  ball-room. 
The  king  has  resolved  to  abandon  his 
pursuit  of  Malwina,  and  has  appointed 
Ankarstrom  Governor  of  Finland.  An 
anonymous  note  warns  Gustavus  not 
to  appear  at  the  ball,  but  he  disregards 
the  warning.  Oscar  tells  AnkarstrSm 
how  to  recognize  the  king,  and,  as 
Malwina  tries  to  warn  Gustavus  and 
he  is  "handing  her  Ankarstrom's  com- 
mission, Ankarstrom  shoots  him.  The 
king  pardons  his  murderer  before  dy- 
ing. Giuseppe  Verdi's  four-act  opera, 
to  book  adapted  by  Somma,  was  com- 
pleted in  1854  for  the  San  Carlo, 
Naples,  but  was  declined  for  political 
reasons,  it  being  considered  unwise  to 


portray  the  assassination  of  a  king. 
Verdi  thereupon  changed  the  scene 
from  Europe  to  America,  substituting 
for  the  king  "  Count  Richard,  Gbvemor 
of  Boston."  The  counsellor  Ankar- 
strom becomes  the  secretary  "  Hene  " ; 
Malwina,  "  Amelia " ;  the  Swedish 
witch  a  negro,  "  Ulrica " ;  and  the 
chief  conspirators  become  "  Samuel " 
and  "  Tom."  The  scene  in  the  witch's 
den  has  been  somewhat  expanded,  but 
in  other  respects  the  plots  are  identi- 
cal. There  being  no  objection  to  the 
assassination  of  a  Governor  of  Boston, 
the  opera  was  presented  at  Home,  Feb. 
17,  1859,  and  it  has  recently  been 
revived  and  included  in  the  repertoire 
of  the  Metropolitan  Opera  House,  New 
York.  The  principal  musical  numbers 
in  Verdi's  opera  are :  Act  I :  "La 
rivedra  nell'  estasi,"  Richard;  "  Di 
speranze  e  glorie  plena,"  Rene ;  "  Volta 
la  terrea,"  Oscar;  the  witch-music 
"Re  del  abisso,"  "  Di'  tu  se  fedele," 
Richard;  Act  II:  "Ma  dall  arido," 
Amelia;  "M'«ni,  M'ami,"  Richard  and 
Amelia ;  "  Odi  tu  come,"  trio ;  Act  III : 
"  Morro,  ma  prima  in  grazia,"  Amelia ; 
"  O  dolcezzo  perdute,"  Rene ;  "  Saper 
vorreste,"  Oscar. 

Ballonzare.  /*.  Wild,  reckless 
dancing. 

Baltazarini  (Baltagerini)  intro- 
duced Italian  dances  into  Paris  from 
which  opera  and  ballet  were  devel- 
oped; played  violin;  became  intend- 
ant  of  music  to  Catherine  de  Medici, 
1577,  who  changed  his  name  to 
Beaujoyeulx. 

Baltzar  (Thomas)  first  great  vio- 
linist to  visit  England ;  became  leader 
of  the  King's  band,  1661.  B.  Lubeck, 
1630;   d.  London,  July  27,  1663. 

Banchieri  (Adriano)  foimded  the 
Accademia  Florida  of  Bologna,  1623; 
wrote  rules  for  playing  accompani- 
ment from  figured  bass,  and  other 
books  on  theory;  composed  church 
music  and  played  organ.  B.  Bologna, 
about  1567;  abbot  of  Mt.  Oliveto;  d. 
1634,  Bologna. 

Band.  Instrumental  musicians 
grouped  for  performance,  as  a  mili- 
tary band,  brass  band,  string  band, 
or  other  sections  of  the  ORCHESTRA. 

Banda.    It.    Military  band. 


BANDEBALI 


40 


EABBEK  OE  BAGDAD 


Banderali  (Davidde)  created  buffo 
ten.  rSlea;  taught  singing  in  Milan 
and  Paris  conservatories.  B.  Lodi, 
Jan.  12,  1789;  d.  June  13,  1849,  Paris. 
Bandini  (Uberto)  won  Turin  musi- 
cal prize  with  overture  "  Eleonora  " ; 
composed  symphony,  "  II  Baccanale," 
for  orchestra.  B.  Kietti,  Umbria,  Mar. 
28,  1860. 

Bandola  or  Bandolon.  It.  Variety 
of  lute  played  with  plectrum. 

Bandore.  English  variation  of 
Greek  Pandoura  invented  by  John 
Rose,  of  London,  1561,  having  twelve 
steel  strings. 

Bandrowski,  Ritter  von  (Alex) 
sang  ten.  at  Cologne,  St.  Petersburg, 
New  York.  B.  Galioia,  April  22,  1860. 
Banestre  (Gilbert)  composed; 
Master  of  Children  of  the  Chapel 
Royal,  Eng.,  succeeding  Henry  Abing- 
don, 16th  century. 

Banister  (Henry  Charles)  wrote 
"  Musical  Art  and  Study,"  1888,  "  The 
Harmonizing  of  Melodies,"  1897;  com- 
posed and  lectured.  B.  London,  June 
13,  1831;    d.  Nov.  20,  1897. 

Banister  (John)  was  first  to  estab- 
lish concerts  at  a  profit  in  London; 
advertised  in  the  London  Gazette,  Dee. 
30,  1672;  composed;  became  King's 
violinist.  B.  London,  1630;  d.  Oct.  3, 
1679.  John  played  first  violin  at  first 
performance  of  Italian  operas  in  Eng- 
lish form;  musician  to  Charles  II, 
James  II,  William  and  Mary,  and 
Anne.  B.  London;  son  of  JOHN;  d. 
1735. 

Banjo.  Popular  American  instru- 
ment of  the  guitar  type  which  may 
have  developed  from  the  banja  or 
bania  brought  over  from  Africa  by 
slaves;  consists  of  a  hoop  over  which 
parchment  is  stretched,  as  a  sounding 
board,  to  which  is  attached  a  handle 
or  keyboard.  There  are  generally  five 
strings. 

Banks  (Benjamin)  made  violins  in 
London,  1750-95.  Benjamin,  Jr., 
James,  and  H.  Banks,  his  three  sons, 
also  made  violins. 

Banti  (Brigitta  Giorgi)  possessed 
soprano  of  great  purity  and  range; 
sang  with  great  success  in  opera,  1778- 
1802,  though  never  a  good  musician, 
having  been  originally  a  street  singer. 


B.  Crema,  Lombardy,  1759;  m.  Zac- 
caria  Banti,  the  dancer;  d.  Bologna, 
Feb.  18,  1806. 

Bantock  (Granville)  conducted  or- 
chestral concerts,  New  Brighton,  Eng., 
1897-1901,  bringing  out  works  by  Mac- 
kenzie, Parry,  Stanford,  Corder,  Ger- 
man, Elgar,  Cowen,  thus  aiding  in  the 
development  of  British  music;  com- 
posed the  operas  "  Caedmar,"  "  The 
Pearl  of  Iran,"  1896;  "  The  Fire  Wor- 
shippers," dramatic  cantata,  1892; 
"  Christus,"  festival  symphony, 
1901.  B.  London,  Aug.  7,  1868;  won 
Macfarren  scholarship,  Royal  Acad- 
emy of  Music;  toured  the  world, 
1894-95,  as  conductor  of  a  George  Ed- 
wardes  production;  principal  Bir- 
mingham and  Midland  Institute 
School  of  Music,  1901;  conductor 
Wolverhampton  Festival  Choral  So- 
ciety, 1902. 

Baptie  (David)  wrote  "Handbook 
of  Musical  Biography,"  1883,  com- 
posed glees;  edited  hymn  books.  B. 
Edinburgh,  Nov.  30,  1822. 

Baptiste.  Professional  name  of 
BAPTISTS  ANET. 

Baptistin  (Jean)  composed  three 
operas,  15  ballets,  cantatas;  played 
'cello  at  Paris  Op6ra.  B.  Florence, 
1690;  real  name  Johann  Baptist 
Struck;    d.  1755. 

Bar  divides  the  time  of  a  composi- 
tion into  measures  or  bars ;  is  a  verti- 
cal line  across  the  stave;  when 
doubled,  indicates  close  of  a  strain 
which,  if  dotted,  is  to  be  repeated. 
Bars  determine  the  position  of  accent 
and  were  used  for  that  purpose  be- 
fore the  adoption  of  modern  musical 
notation. 

Barbaja  (Domenioo)  managed  La 
Scala  and  San  Carlos  operas  in  Italy 
and  "  KSmthnerthor  "  and  "Auf  der 
Wien "  theatres  in  Vienna.  Began 
life  as  a  waiter;  gave  employment  to 
greatest  singers  of  his  time ;  first  pro- 
duced many  operas  of  Bellini,  Doni- 
zetti, and  Rossini.  B.  Milan,  1778; 
d.  Oct.  16,  1841. 

Barbaro.    It.    Barbarous. 

Barber  of  Bagdad.  Peter  Cor- 
nelius' two-act  comic  opera  to  his  own 
libretto  was  produced  at  Weimar  by 
Liszt,  Dec.  16,  1858,  where  its  failure 


BABBEB  OF  SEVILLE 


41 


BAUD 


caused  Liszt's  retirement.  Years  after 
Cornelius'  death  it  was  revived  in 
Grerman  and  English  with  complete 
success.  The  story  deals  with  the 
famous  barber  of  the  Arabian  Nights, 
and  his  interference  with  the  love 
affairs  of  Nurredin  and  Margiana. 

Barber  of  Seville.  The  delightful 
"  Figaro  "  comedies  of  Beaumarchais 
have  been  the  inspiration  of  many- 
composers.  Paisiello's  opera  was  pro- 
duced at  St.  Petersburg  with  complete 
success  in  1780,  and,  although  Ros- 
sini obtained  his  permission  to  treat 
the  same  subject,  it  was  revived  when 
Rossini's  opera  was  presented  at  Paris, 
and  the  rival  works  became  the  subject 
of  heated  controversy ;  with  the  result, 
however,  that  Rossini's  alone  has  sur- 
vived. Rossini's  opera,  in  two  acts, 
was  written  to  a  libretto  by  Sterbini, 
and  was  first  performed  at  Rome,  Feb. 
5,  1816.  Doctor  Bartolo  wishes  to 
marry  his  charming  ward,  Rosina,  who 
loves  and  is  loved  by  Count  Almaviva, 
whom  she  knows  as  Lindoro.  Figaro 
the  Barber  interests  himself  in  the 
affairs  of  the  lovers;  suggests  that 
the  Count  obtain  entrance  to  Bartolo's 
house  in  the  guise  of  a  soldier  with  a 
billet  for  lodgings;  tells  Rosina  of 
Almaviva's  love  for  her,  and  carries  a 
note  to  him  from  her.  Bartolo's  sus- 
picions are  aroused  by  Rosina's  inky 
finger,  and  when  the  pretended  soldier 
appears,  he  sends  Rosina  from  the 
room,  and  declares  he  has  a  license 
against  billets.  While  he  looks  for  the 
license  Almaviva  makes  love  to  Rosina, 
and  Bartolo,  on  discovering  this,  makes 
such  a  row  that  the  guards  enter  and 
Almaviva  is  obliged  to  retire.  The 
second  act  reveals  Almaviva  once  more 
in  Bartolo's  house,  this  time  disguised 
as  a  singing  master,  come  to  replace 
Basilio,  who  is  ill.  In  the  love  scene 
which  follows  Rosina  is  permitted  to 
interpolate  songs  at  discretion,  as 
Rossini's  music  has  been  lost.  Un- 
fortunately the  real  Basilio  presents 
himself,  but  Figaro  bribes  him  to 
silence,  and  an  elopement  is  planned 
for  that  night.  Bartolo  has  obtained 
a  note  of  Rosina's  to  Almaviva ;  sends 
for  a  notary  to  hasten  his  own  wed- 
ding with  her,  and  then  tries  to  make 


her  believe  that  Lindoro  and  Figaro 
have  conspired  to  betray  her  to  Count 
Almaviva.  Rosina  hears  with  delight 
that  Lindoro  and  Almaviva  are  one 
and  the  same,  the  notary  is  bribed,  and 
Bartolo  is  tricked  into  signing  what 
he  believes  is  a  contract  of  marriage 
between  himself  and  his  ward,  but 
Which  is  really  the  marriage  contract 
of  Rosina  and  Almaviva.  His  rage  is 
allayed  when  Almaviva  presents  him 
with  Rosina's  dowry.  The  original 
cast  consisted  of  Figaro,  Zamboni, 
bar.;  Almaviva,  Garcia,  ten.;  Bar- 
tolo, Botticelli,  bass;  Basilio,  Vitta- 
relli,  bass;  Rosina,  Giogi  Righetti, 
sop.;  Berta,  Signorina  Rossi,  sop. 
The  principal  musical  numbers  are: 
Act  I :  "  Ecco  ridente  il  cielo  "  ( ser- 
enade ) ,  Almaviva ;  "  Largo  al  f acto- 
txun,"  Figaro;  "Una  voce  poco  fa," 
Rosina;  "  Calumny  aria,"  Basilio;  "E 
il  maestro  io  faccio,"  Rosina  and  Fi- 
garo; Act  II:  "Ma  vedi  il  mio  des- 
tino,"  Bartolo;  "  Sempre  gridi  "  (Aria 
di  Sorbetto),  Berta;  "  Zitti,  zitti," 
terzetto.  Subsequent  adventures  of 
Figaro  are  the  theme  of  Mozart's 
"MARRIAGE   OF   FIGARO." 

Barbers  of  Bassora.  John  Hul- 
lah's  two-act  comic  opera,  to  words  by 
Madison  Morton,  was  produced  Nov. 
11,  1837,  in  London. 

Barbi  (Alice)  sang  mez.  sop.  in 
concert;  debut  Milan,  1882;  wrote 
poems.  B.  Bologna,  1860,  retired 
1886. 

Barbieri  (Francisco  Asenjo)  com- 
posed 75  operettas,  etc.  B.  Madrid, 
Aug.  3,  1823;    d.  Feb.  19,  1894. 

Barbireau  (Mattre  Jacques)  com- 
posed church  music;  taught  boys  in 
the  Antwerp  Cathedral,  1448,  to  his 
death,  Aug.  8,  1491. 

Barbiton.  The  seven-stringed  lyre 
of  Anacreon;  obsolete  variety  of 
violin. 

Barcarole.  Fr.  "  Boat  song." 
Melodies  of  Venetian  gondoliers,  or 
their  imitations. 

Barcrofte  (Thomas)  composed 
church  music;  played  organ  Ely  Ca- 
thedral, 1579;    d.  1610. 

Bards.  Celtic  minstrel  poets  held 
in  high  esteem,  whose  memory  is  per- 
petuated in  the  EISTEDDFODS. 


BAKDELLA  42 

Bardella  (Antonio  Naldi)  prob- 
ably invented  the  theorbo,  which  he 
played  at  the  court  of  Tuscany,  16th 
century. 

Bardi,  Count  Vernio  (Giovanni) 
composed  early  form  of  opera  per- 
formed in  his  home  by  Corsi,  Peri, 
Rinuccini,  V.  Galilei,  and  others  of 
his  friends;  was  attached  to  court  of 
Pope  Clement  VIII,  16th  century. 

Bardone.  Obsolete  instrument  of 
viol  family  or  baryton. 

Bar  em.  Ger.  Organ  stop  of 
eight  feet,  or  16  feet  closed  flute 
pipes. 

Bargaglia  (Scipione)  first  em- 
ployed word  "  Concerto  "  ( Dr.  Bur- 
ney),  composed  and  wrote  on  theory, 
Naples,  16th  century. 

Bargiel  (Woldemar)  composed 
symphony  in  C,  overtures  "  Prome- 
theus," "Zu  Einem  Trauerspiel,"  "Me- 
dea"; numerous,  works  for  piano, 
orchestra,  chorus.  B.  Berlin,  Oct.  3, 
1828,  half  brother  of  Clara  Wieck 
Schumann;  pupil  Schumann  and 
Mendelssohn;  taught  in  Berlin  Hoch- 
schule  ftir  Musik  and  headed  "Meister- 
schule  fur  musikalsche  Composition  " ; 
connected  with  Academy  of  Fine  Arts ; 
add.  Berlin. 

Barginet  or  Bergeret.  Shepherd 
song. 

Baribasso     It.    Deep  bass. 

Bariolage.  Fr.  Medley;  ca- 
denzas. 

Baritenor.    Low  tenor. 

Baritone.  Male  voice  between  bass 
and  tenor,  and  partaking  qualities  of 
both,  extreme  range  being  G  to  g'. 
Mozart  was  first  to  compose  important 
music  for  this  voice,  although  its 
earlier  recognition  is  proved  by  the 
special  baritone  clef  (F  placed  on  the 
stave's  third  line),  now  obsolete,  but 
used  by  Purcell  and  Handel.  The 
term  is  also  applied  the  Saxhorn  in 
B  flat  or  C,  and  to  other  instruments 
of  intermediate  range. 

Baritono.    It.    Baritone. 

Barker  (Charles  Spackman)  in- 
vented the  pneumatic  organ  lever,  elec- 
tric organ,  and  built  organs  under  firm 
name  of  Barker  &  Verschnelder.  B. 
Bath,  Eng.,  Oct.  10,  1806;  went  to 
Paris,    1837;     returned   to    England, 


BABOIT 


1870;  d.  Maidstone,  Eng.,  Nov.  26, 
1879. 

Barmann  (Heinrich  Joseph) 
played  and  composed  for  clarinet,  friend 
of  Meyerbeer,  Weber,  and  Mendelssohn. 
B.  Potsdam,  Feb.  14,  1784;  d.  June  11, 
1847,  Munich.  Karl  played  bassoon 
in  Berlin  royal  band.  B.  Potsdam; 
brother  of  HEINRICH  JOSEPH;  d. 
1842.  Karl  played  clarinet;  wrote 
a  "Clarinet  School."  B.  1820,  Mu- 
nich; son  of  HEINRICH  JOSEPH; 
d.  May  24,  1885.  Karl  taught  music 
in  Munich  and  Boston,  Mass.,  1881. 
B.  July  9,  1839 ;  son  of  KARL;  pupil 
of  Liszt,  Lachner;    add.  Boston. 

Barley  CWilliam)  succeeded  to 
music  printing  business  conferred  by 
Queen  Elizabeth's  patent  upon  Thomas 
Morley.  Publications  are  dated  Lon- 
don, 1596  to  1609. 

Barnard  (Charlotte  Aling^on) 
wrote  the  "  Claribel  "  ballads.  B.  Dec. 
23,  1830;  m.  C.  C.  Barnard,  1854;  d. 
Jan.  30,  1869,  Dover,  Eng. 

Barnard  (Bev.  John)  published  the 
first  English  collection  of  cathedral 
music,  1641 ;  canon  St.  Paul's  Cathedral. 

Barnby  (Sir  Joseph)  composed  246 
hymns;  the  oratorio  "Rebekah"; 
conducted  Royal  Academy  of  Music 
concerts;  was  organist  and  choir- 
master at  12;  knighted  Aug.  5,  1892. 
B.  York,  Aug.  12,  1838;  d.  London, 
Jan.  28,  1896. 

Barnett  (John)  composed  about 
4,000  songs;  "The  Mountain  Sylph," 
"  Fair  Rosamund,"  and  "  Farinelli," 
operas,  the  first  of  which  achieved 
great  popularity;  taught  and  wrote 
on  musical  subjects.  B.  Bedford, 
Eng.,  July  15,  -1802;  second  cousin 
of  Meyerbeer;    d.  April  16,  1890. 

Barnett  (John  Francis)  composed 
the  cantata  "  The  Ancient  Mariner  " ; 
overture  to  "The  Winter's  Tale," 
"  The  Raising  of  Lazarus,"  symphony 
in  A  minor,  "  Pastoral  Suite  " ;  son 
of  Joseph  Alfred  Barnett  and  nephew 
of  JOHN;  won  Queen's  Scholarship 
in  Royal  Academy  of  Music;  played 
violin.  B.  London,  Oct.  16,  1837;  d. 
April  29,  1898. 

Baron  (Ernst  Theophilus)  wrote 
on  the  history  and  theory  of  music; 
composed;    theorbist  to  Frederick  the 


BARONESS,  THE 


43 


BABTLEKAN 


Great.  B.  Breslau,  Feb.  17,  1696;  d. 
Berlin,  April  12,  1760. 

Baroness,  The.  Professional  name 
of  a  German  opera  singer  of  Bonon- 
cini's  time. 

Barre  (Antonio)  published  music 
in  Milan,  1555-88;  composed;  sang 
at  St.  Peter's,  Rome. 

Barrg.  Fr.  "Bar."  Placing  the 
finger  over  all  the  strings  of  a  lute  or 
guitar,  which  raises  the  pitch  like  a 
CAPOTASTO. 

Barre  (Ijeonard)  composed  motets 
and  madrigals;  advised  Council  of 
Trent  on  church  music;  sang  in  Papal 
Chapel,  Rome,  1537-52. 

Barrel  Organ.  The  common  street 
organ  which  has  spread  to  all  parts  of 
the  world  dates  from  the  beginning 
of  the  18th  century,  and  is  the  sim- 
plest form  of  the  many  mechanical 
devices  for  automatically  producing 
music,  requiring  only  the  turning  of 
a  handle.  The  barrel  is  furnished 
with  a  series  of  pegs  which  open  the 
valves  as  it  revolves,  admitting  cur- 
rents of  air  to  a  set  of  pipes.  The 
same  movement  that  turns  the  barrel 
pumps  the  bellows.  The  compass  is 
generally  about  two  octaves  and  a 
half.  The  barrel  may  be  made  to  shift 
in  position,  in  which  case  more  than 
one  tune  can  be  played.  Larger  forms 
of  barrel  organ  were  once  employed  in 
churches,  but  have  given  way  to  melo- 
deons.  The  principle  may  be  studied 
in  miniature  in  the  music  box,  where 
the  teeth  of  a  steel  comb  are  set  in 
vibration  by  a  barrel.  It  has  been 
applied  to  such  elaborate  instruments 
as  the  "  APOLLONICON,"  and  to 
organs  for  private  houses  ranging  in 
cost  from  $500  to.$8,000,  which  imitate 
orchestral  effect.  When  provided  with 
manuals  these  elaborate  instruments 
are  called  "Barrel  and  Finger  Organs." 
Street  pianos  are  also  operated  by  the 
barrel  mechanism. 

Barret  (Apollon  IHCarie  Rose) 
wrote  "  Complete  Method  for  the 
Oboe,"  on  which  he  was  a  distin- 
guished soloist.  B.  France,  1804;  d. 
Mar.  8,  1879. 

Barrett  (John)  composed  songs, 
act  music,  etc.;  played  organ.  B. 
England,  about  1674;    d.  about  1735. 


Barrett  (Thomas)  made  violins  in 
London,  1710-30. 

Barrett  (William  Alexander) 
wrote  music  criticism  for  London 
"Morning  Post,"  1869-91;  a  life  of 
Balfe,  "  English  Church  Composers," 
etc.;  edited  with  Sir  John  Stainer 
"  Dictionary  of  Musical  Terms."  B. 
Hackney,  Oct.  15, 1834;  vicar-choral  St. 
Paul's,  London,  1876;  d.  Oct.  17,  1891. 

Barrington,  The  Hon.  (Daines) 
wrote  description  of  Mozart  in  1764 
(vol.  XI  "Philosophical  Transactions, 
1780).    B.  London,  1727;    d.  1800. 

Barroco.    It.    Whimsical,  eccentric. 

Barry  (Charles  Alnslie)  composed; 
wrote  programme  analyses;  edited 
"  Monthly  Musical  Record,"  London, 
1875-79.    B.  London,  June  10,  1830. 

Barsanti  (S'rancesco)  published 
"A  Collection  of  Old  Scots  Tunes," 
Edinburgh,  1742;  composed;  played 
flute  and  oboe.  B.  Lucca,  1690;  went 
to  England  with  Germiuiani. 

Bartei  (Girolamo)  composed; 
chapelmaster  Volterra  Cathedral ; 
general  of  Augustinian  monks,  Rome; 
published  eight  voice  masses,  1608. 

Barth  (Earl  Heinrich)  taught 
piano  in  the  Hochschule,  Berlin,  1871 ; 
highly  esteemed  as  concert  pianist.  B. 
Pillau,  Prussia,  July  12,  1847. 

Barth  (Blchard)  directed  Ham- 
burg Singakademie  and  Philharmonic 
concerts.  B.  June  5,  1850,  Grosswanz- 
leben.  Saxony;  violin  pupil  of  Joa- 
chim;   add.  Hamburg. 

Barthel  (Johann  Christian) 
played  organ  to  court  of  Altenburg, 
1804,  until  his  death,  June  10,  1831. 

BarthSlemon  (Erangois  Hippo- 
lyte)  composed  music  for  "  Orpheus," 
at  Garrick's  request,  "A  Peep  Behind 
the  Scene,"  and  other  burlettas;  m. 
Mary  Young,  a  singer;  made  success- 
ful tours  as  concert  violinist.  B.  Bor- 
deaux, July  27,  1741;  d.  July  20, 
1808. 

Bartholomew  (William)  adapted 
most  of  Mendelssohn's  vocal  pieces  to 
English,  and  translated  libretti.  B. 
London,  1793;    d.  Aug.  18,  1867. 

Bartleman  (James)  sang  bass- 
bar,  with  distinction  at  London  eon- 
certs.  B.  Westminster,  Sept.  19,  1769; 
d.  April  15.  1821. 


BARTLBTT  44 

Bartlett  (John)  composed  "  A  Book 
of  Ayres,"  1606,  Eng. 

Bartolini  (Vincenzio)  sang  sop.  in 
London,  1782,  Cassel,  1792. 

Baryton.  Obsolete  instrument  of 
the  viol  family  for  which  Haydn  com- 
posed 175  pieces;  had  six  or  seven 
strings  like  viola  da  gamba,  and  from 
seven  to  44  sympathetic  metal  strings. 

Bas-dessus.  Fr.  Mez.  sop.  or  sec- 
ond treb. 

Basevi  (Abramo)  wrote  on  theory ; 
edited  musical  periodicals;  composed 
operas ;  helped  found  "  Societa  del 
Quartetto."  B.  Leghorn,  Dec.  29,  1818; 
d.  Florence,  Nov.,  1885. 

Basill  (Domenico  Andrea)  com- 
posed 24  clavier  etudes;  chapelmaster 
at  Loretto.  D.  1775.  Erancesco  com- 
posed operas,  symphonies;  chapel- 
master at  St.  Peter's,  Rome.  B.  Feb., 
1766,  son  of  DOMENICO  ANDREA; 
d.  Mar.  25,  1850. 

Bass.  The  lowest  male  voice, 
ranging  from  F ',  the  lowest  tone  of 
the  rare  contra  basso  voice  to  the  bari- 
tone register.  The  Basso  Cantante  is 
distinguished  from  the  Basso  Pro- 
fundo  by  its  flexibility  rather  than  any 
difference  in  range.  The  Basso  Buffo 
is  a  bass  comedian. 

Bass.  The  tones  below  middle  C  in 
the  musical  system  as  distinguished 
from  those  above,  which  are  called 
treble;  the  grave  as  opposed  to  the 
acute. 

Bassa  Ottava.  li.  The  lower  octave. 

Bass  Bar.  Strip  of  wood  glued  to 
the  belly  of  a  viol  under  the  bass  foot 
of  the  bridge  to  distribute  the 
vibrations. 

Bass  Clarinet.  Is  generally  set  in 
B  flat,  but  also  in  A  and  in  C.  The 
instrument  is  an  octave  lower  than 
the  CLARINET. 

Bass  Clef.  The  F  clef,  so  called  from 
having  been  modified  from  that  letter. 

Bass  Drum.  The  largest  DRUM  in 
the  modern  orchestra;  serves  to  define 
rhythm,  but  is  not  tuned. 

Bass  Flute.  An  obsolete  bass  in- 
strument sometimes  made  like  the 
ordinary  FLUTE,  but  32  inches  long, 
sometimes  doubled  so  that  it  resembled 
a  bassoon.  The  name  has  been  given 
an  eight-foot  organ  stop. 


BASSOOig' 


Bassgeige.    Oer.    Bass  viol. 

Bass  Horn.  Deep  B  flat  HORN, 
doubled  like  a  basson  which  suc- 
ceeded the  serpent  but  has  given  way 
to  the  ophicleide. 

Bass  Lute.     THEORBO. 

Bass  Tuba.  The  lowest  of  the  Sax- 
horns;   the  euphonium. 

Bassani  (Giovanni  Battista)  com- 
posed six  operas  and  31  vocal  and  in- 
strumental works  and  three  oratorios; 
directed  music  at  Bologna  and  Fer- 
rara  Cathedrals;  played  violin.  B. 
Padua,  1657;   d.  Ferrara,  1717. 

Basse  Danse.  Stately  dance  for" 
two  people  in  triple  time  popular  in 
France,  15th  and  16th  centuries. 

Basset  Horn.  The  tenor  clarinet, 
set  in  F,  usually  made  curved  for  con- 
venience in  handling. 

Bassevi  (Giacobbe)  became  man- 
ager of  Drury  Lane,  London;  played 
'cello  during  Garrick's  management 
(professional  name  Cervetto)  ;  ac- 
cumulated fortune  equivalent  to 
$100,000.  B.  Italy,  1682;  d.  London, 
Jan.  14,  1783.  James  played  violin 
solos  at  the  Haymarket,  London,  when 
11,  and  in  concert  and  orchestra  until 
the  death  of  his  father  GIACOBBE, 
when  he  retired.  B.  London,  1749; 
d.  Feb.  5,  1837. 

Bassi  (Luigi)  sang  women's  parts 
in  opera  at  13;  developed  as  baritone 
and  created  the  name  part  in  "  Don 
Giovanni,"  which  Mozart  wrote  for 
him ;  became  manager  Dresden  Italian 
opera,  1815.  B.  Pesaro,  1766;  d. 
Dresden,  1825. 

Basslron  (Philippe),  composed 
masses  published  by  Petrucci,  1505. 
B.  Netherlands. 

Basso  Continuo.  /*.  Figured  bass 
for  piano  or  organ  or  THOROUGH 
BASS. 

Basso  da  Camera.  It.  Small 
double-bass  for  solos. 

Basso  Ostinato.  It.  GROUND 
BASS. 

Basso  Biplendo.  It.  Bass  of 
chorus  parts. 

Basson  Russe.     Bass  horn. 

Bassoon.  The  bass  of  the  OBOE, 
ranging  from  B '  flat  to  b '  flat.  The 
instrument  is  doubled  on  itself,  and 
its  resemblance  to  a  bundle  of  sticks 


BASTABBELLA  45 

is  said  to  have  caused  Afranio,  Canon 
of  Ferrara  (the  probable  inventor)  to 
have  named  it  "  fagotto,"  1540.  Ad- 
ditional mechanism  has  raised  the 
compass  of  modern  instruments  to  f  ". 
First  introduced  in  orchestra  about 
1671,  the  bassoon  has  steadily  grown 
in  favour  with  composers,  and  Mozart 
wrote  a  concerto  for  it  with  full  or- 
chestral accompaniment. 

Bastardella.  Nickname  of  the 
singer  AGUJARI. 

Bastien  et  Bastienne.  Mozart's 
operetta  written  in  his  12th  year,  to 
words  by  Schachtner,  was  performed 
1768  in  the  Messmers'  garden-house 
in  Vienna. 

Baston  (Josquin)  composed  motets 
and  chansons,  Flanders,  16th  century. 

Bates  (Toab)  founded  and  first 
conducted  London's  "  Ancient  Con- 
certs," 1776.  B.  Mar.  19,  1740;  m. 
Sarah  Harrop,  singer,  1780;  d.  June 
8,  1799. 

Bates  (William)  composed  the 
comic  opera  "  The  Jovial  Crew," 
"  Songs  sung  at  Marylebon  Gardens," 
etc.,  England,  18th  century. 

Bateson  (Thomas)  first  to  gradu- 
ate in  music  from  Trinity  College, 
Dublin;  composed  madrigals;  played 
organ  Chester  and  Dublin  Cathedrals. 
D.  1631. 

Bathe  (William)  invented  a  "  harp 
of  new  device,"  which  he  presented  to 
Elizabeth;  published  his  "Brief  In- 
troduction to  the  True  art  of  Mu- 
sicke,"  1584,  the  first  of  its  kind  in 
English,  "  A  Brief  Introduction  to  the 
Skill  of  Song,"  London,  1600.  B.  Ire- 
land, grandson  of  Chief  Baron  and- 
son  of  Judge  Bathe ;  entered  Society  of 
Jesus;  published  "Janua  Lingua- 
rum,"  Salamanca,  1611;  d.  Madrid, 
June  17,  1614. 

Batiste  (Antoine  Eduard)  wrote 
"Petit  Solffege  Harmonique";  wrote 
out  accompaniments  for  figured  basses 
of  solfeggi  by  Cherubini  and  others; 
played  and  composed  for  organ,  and 
taught  at  the  Paris  Conservatoire. 
He  was  the  son  of  Batiste,  the  com- 
edian, and  uncle  of  L6o  Delibes.  B. 
Paris,  Mar.  28,  1820 ;    d.  Nov.  9,  1876. 

Baton  (Charles)  composed;  wrote 
on  and  played  vielle  or  hurdy-gurdy. 


BAtJLDtXlN 

Called  "  le  jeune."  An  elder  brother, 
Henri,  played  musette.  Paris,  18th 
century. 

Baton.  Fr.  "Stick."  Originally 
a  long  baton  was  used  in  conducting, 
which  was  rapped  against  the  floor. 
This  gave  way  to  the  small  conductor's 
wand.  A  conductor's  manner  is  called 
his  "  baton,"  and  the  term  is  also  ap- 
plied to  a  rest  of  two  or  more 
measures. 

Battaille  (Charles  Amable)  wrote 
on  the  voice  and  taught  singing  in 
Paris  Conservatoire.  B.  Nantes,  Sept. 
30,  1822;    d.  Paris,  May,  1872. 

Battement.  Fr.  Ornament  em- 
ployed in  singing. 

Batten  (Adrian)  composed  the  full 
anthem  "  Deliver  us,  O  Lord,"  services, 
etc.,  played  organ  Winchester  and  St. 
Paul's  Cathedrals,  17th  century. 

Battere.    It.    Down  beat. 

Batterie.  Fr.  Roll  of  drum ;  group 
of  percussion  instruments. 

Battery.  Harpsichord  agremen, 
which  indicated  a  chord  was  to  be 
played  twice. 

Battimento.     It.    Battement. 

Battishill  (Jonathan)  composed 
songs,  glees,  anthems,  and  dramatic 
music,  and  played  organ  in  London 
churches.  B.  London,  May,  1738;  m. 
Miss  Davies,  a  singer,  1763;  d.  Dec. 
10,  1801. 

Battle  of  Prague.  Kotzwara's 
programme  piece  descriptive  of  the 
contest  between  the  Austrians  and 
Prussians,  1757,  became  immensely 
popular  and  foreshadowed  other  com- 
positions of  like  character. 

Battle  Symphony.  English  name 
of  Beethoven's  "  Wellingtons  Sieg, 
Oder  die  Schlacht  bei  Vittoria." 

Batton  (Desire  Alexandre)  com- 
posed operas,  the  failure  of  which  was 
largely  due  bad  librettos ;  collaborated 
with  Auber,  HSrold,  and  Carafa  in  "  La 
Marquise  de  Brinvilliers " ;  became 
inspector  of  branch  schools  in  the 
Paris  Conservatoire,  1842.  B.  Paris, 
Jan.  2,  1797 ;   d.  Oct.  15,  1855. 

Battuta.    /*.    Strict  time. 

Bauernleyer.     Qer.     Hurdy-gurdy. 

Bauerpfeife.  Qer.  Eight-foot  or- 
gan stop. 

Baulduin  (Noel)  directed  music  at 


BATTlffGABTS!]!]' 


46 


BEACH 


Notre  Dame,  Antwerp,  1513-18;  com- 
posed motets,  etc.  B.  Netherlands; 
d.  1529. 

Baumgarten  (C.  F.)  composed 
operas  and  pantomimes,  including 
"Robin  Hood,"  1786,  and  "Blue 
Beard,"  1792,  while  leader  of  the 
English  opera  at  Covent  Garden,  Lon- 
don, 1780-1794. 

Baxoncillo.  8p.  Organ  stop  like 
open  diapason. 

Bayaderes.  Dancing  girls,  in  East- 
ern temples. 

Bayer  (Joseph)  composed  the  bal- 
lets "Die  Puppenfee,"  "Die  Braut 
von  Korea,"  "  Sonne  und  Erde,"  "  Die 
Welt  in  Bild  und  Tanz  " ;  the  operettas 
"Der  Schoene  Kaspar,"  "Meister  Men- 
elaus,"  etc.;  became  ballet  director 
Vienna  Court  Opera,  1882.  B.  1851; 
add.  Vienna. 

Bayles.    8p.    Gipsy  dance  songs. 

Baylor  (Eugene)  composed  "  The 
Margrave  Galop "  in  Richmond,  Va., 
March,  1864,  while  major  in  the  Con- 
federate ai'my,  and  other  popular 
pieces.  The  "  Margrave  Galop  "  was 
long  a  favorite  in  the  Southern  states 
after  the  close  of  the  Civil  War.  B. 
Virginia;    add.  Winchester,  Va. 

Bayly  (Rev.  Anselm)  wrote  "  A 
Practical  Treatise  on  Singing  and 
Playing,"  1771;  "The  Alliance  of 
Musick,  Poetry,  and  Oratory,"  1789; 
sub-dean  of  Eng.  Chapel  Royal,  1764. 
B.  Gloucestershire,  1719;    d.  1794. 

Bayreuth  became  the  centre  of  the 
Wagner  cult  from  1872  when  Richard 
Wagner  took  up  his  residence  there 
and  began  his  plans  for  the  "  Festspiel- 
haus,"  the  corner  stone  of  which  was 
laid  May  22,  1872,  with  elaborate  cere- 
monies, including  a  performance  of 
Beethoven's  Choral  Symphony.  Wag- 
ner societies  in  all  parts  of  the  world 
raised  the  money  for  the  new  theatre, 
which  was  designed  by  Gottfried  Sem- 
per with  suggestions  from  Wagner, 
and  opened  in  Aug.,  1876,  with  per- 
formances of  two  cycles  of  the  "  Ring 
des  Nibelungen,"  causing  a  loss  of 
nearly  $40,000.  "Parsifal"  was  per- 
formed there  first  in  July  and  Aug., 
1882,  and  was  restricted  to  that 
theatre  until  Dec.  24,  1903,  when  it 
was    produced    at    the    Metropolitan 


Opera  House,  New  York,  under  man- 
agement of  Heinrich  Conried,  Alfred 
Hertz  conducting.  An  excellent  Eng- 
lish production  by  Henry  W.  Savage 
followed.  Bayreuth  has  continued  to 
be  the  home  of  Frau  Cosima  Wagner, 
and  of  Siegfried  Wagner,  who  bitterly 
opposed  the  American  productions  of 
the  "  Bunenwehfestspiel "  or  stage 
festival  dedicatory  play,  as  Wagner 
termed  "  Parsifal."  However,  the 
music  had  been  made  known  in  con- 
cert form  before  the  New  York  episode. 
Since  the  beginning  Bayreuth  has  been 
the  principal  training  school  of  Wag- 
nerian singers  and  conductors. 

B  Cancellatum.  L.  B  flat  can- 
celled by  a  line  drawn  through  it  an- 
ciently used  as  natural,  and  from 
which  our  accidentals  are  derived. 

B  Dur.  Ger.    B  flat  major. 

B  Durum.    L.    B  natural. 

Bazin  (Prangois  Emanuel  Jo- 
seph) composed  "  Le  Trompette  de 
M.  le  Prince,"  "  Le  Malheur  d'gtre 
jolie,"  "La  Nuit  de  la  Saint-Syl- 
vestre,"  "  Madelon,"  "Maitre  Pathe- 
lin,"  "  Le  Voyage  en  Chine,"  operas 
performed  at  the  Op6ra  Comique, 
Paris;  taught  in  Paris  Conservatoire. 
B.  Marseilles,  Sept.  4,  1816;  d.  Paris, 
July  2,  1878.  ■ 

Bazzini  (Antonio)  composed 
"  Ronde  des  Lutins  "  and  other  works 
for  violin,  which  he  played;  directed 
Milan  Conservatory,  1882.  B.  Mar. 
11,  1818,  Brescia;  d.  Milan,  Feb.  10, 
1897. 

Beach  (Amy  Maroy  Cheney)  com- 
posed Gaelic  Symphony;  played  1896, 
Boston  Symphony  Orchestra;  con- 
certo for  piano,  which  she  played  with 
Boston  Symphony  Orchestra,  1900; 
Mass,  E  flat,  for  mixed  voices,  soli, 
chorus,  and  orchestra,  1892;  "The 
Minstrel  and  the  King,"  male  chorus 
and  orchestra,  1902;  "Festival  Ju- 
bilate," mixed  voices  and  orchestra, 
for  the  Chicago  Exposition,  1893; 
played  piano  in  orchestral  concerts 
and  recital.  Studied  with  Ernst  Pe- 
rabo,  Carl  Baermann,  and  Junius  W. 
Hill;  debut  Boston  Music  Hall,  Oct. 
24,  1883;  ra.  H.  H.  A.  Beach,  1885. 
B.  Henniker,  N.  H.,  Sept.  5,  1867;  add. 
Boston. 


BEALE 


4? 


SECKEBr 


Beale  (tTohu)  taught  piano,  Royal 
Academy  of  Music,  London.  B.  Lon- 
don, 1796. 

Beale  (William)  composed  "  Come 
let  us  join  the  roundelay"  and  other 
madrigals  and  glees;  organist  in  Cam- 
bridge and  London.  B.  Landrake,  Eng., 
Jan.  1,  1784;  d.  London,  May  3, 
1854. 

Bearbeitet.     Ger.     Adapted. 

Beard  (Jolin)  sang  ten.  under  Han- 
del at  Covent  Garden,  London;  m. 
Lady  Henrietta  Herbert,  daughter  of 
Earl  Waldegrave,  1739;  retired  until 
her  death,  1743;  sang  at  Drury  Lane 
and  Covent  Garden;  m.  Charlotte 
Rich,  whose  father  owned  Covent  Gar- 
den, 1759;  succeeded  to  management 
of  that  house,  1761.  B.  England,  1717; 
d.  Hampton,  Feb.  5,  1791. 

Bearings.  Notes  first  established 
in  tuning,  on  which  to  base  the  rest  of 
the  compass. 

Beat.  Shake  or  grace  note ;  motion 
by  which  conductors  indicate  accent 
or  rhythm;  part  of  measure  so  indi- 
cated; throb  produced  when  tones  dif- 
fering in  pitch  are  produced  together. 

Beatrice  di  Tenda.  Vineenzo  Bel- 
lini's opera  to  libretto  by  F.  Romano, 
was  first  performed  in  Venice,  1833. 

Beatrice  et  Benedict.  Hector  Ber- 
lioz's two-act  opera  founded  on  "  Much 
Ado  About  Nothing,"  for  which  he 
also  wrote  the  libretto,  was  first  per- 
formed Aug.  9,  1862,  at  the  opening 
of  the  Baden  Theatre  under  Liszt  and 
successfully  revived  by  Mottl. 

Beaulieu  (llarie  Desire)  wrote  on 
musical  history;  composed  the  operas 
"  Anacrgon  "  and  "  Philadelphie  " ; 
founded  the  Philharmonic  Society  at 
Niort,  which  was  the  pioneer  of  its 
kind  in  France  and  grew  into  the 
"  Association  musicale  de  I'Ouest." 
B.  Paris,  April  11,  1791  (family  name 
Martin)  ;  d.  Niort,  Dec,  1863. 

Beaumavielle  sang  bar.  in  Cam- 
bert's  first  French  opera  "Pomone," 
1671.    D.  1688. 

Beauty  Stone.  Sir  Arthur  Sulli- 
van's musical  play  in  three  acts  to  text 
by  Comyns  Carr  and  A.  W.  Pinero,  was 
first  performed  May  28,  1898,  at  the 
Savoy  Theatre,  London. 

Bebisation.  Obsolete    solmiza- 


tion    commended   by   Daniel    Hitzler, 
1630. 

Bebung.  Oer.  Clavichord  tremolo; 
tremolo  organ  stop. 

Bee.     Fr.    "  Beak  "  or  mouthpiece. 

Becarre.     Fr.     Natural. 

Becco.     It.    Mouthpiece. 

Becco  Folacco.    It.  Large  bagpipe. 

Becher  (Alfred  Julius)  composed 
songs,  chamber  music;  wrote  music 
criticism.  B.  Manchester,  April  27, 
1803;  studied  Heidelberg,  GSttingen, 
Berlin;  edited  the  "Radikale,"  Vi- 
enna; tried  by  court-martial  and  shot, 
Nov.  23,  1848. 

Bechstein  (Priedrich.  Wilhelm 
Carl)  founded  the  Berlin  piano  busi- 
ness bearing  his  name,  headed  in  1908 
by  Edwin  Bechstein,  with  branches  in 
Paris,  London,  St.  Petersburg.  B. 
June  1,  1826,  Gotha;   d.  Mar.  6,  1900. 

Beck  (Eranz)  composed  24  sym- 
phonies, a  "  Stabat  Mater  " ;  directed 
concerts  in  Bordeaux  and  taught.  B. 
Mannheim,  1731;  d.  Bordeaux,  Dec. 
31,  1809. 

Beck  (Johann  Nepomuk)  sang 
principal  bar.  opera  rSles  at  Vienna, 
1853-88.  B.  Pesth,  May  5,  1828;  d. 
Vienna,  Sept.,  1893. 

Beck  (Joseph.)  sang  bar.  in  opera 
at  Frankfort,  1880.  B.  June  11, 1850; 
son  of  JOHANN  NEPOMUK;  add. 
Frankfort. 

Becken.     Q-er.    Cymbal. 

Becker  (Albert  Ernst  Anton)  com- 
posed Mass  B  flat  minor,  opera  "  Lore- 
ley,"  symphony  in  G  minor,  songs, 
chamber  music;  directed  Berlin  Dom- 
chor;  B.  Quedlinburg,  June  13,  1834; 
d.  Berlin,  Jan.  10,  1899. 

Becker  (Carl  Ferdinand)  vrrote  on 
music;  taught  organ  at  Leipsic  Con- 
servatory and  bequeathed  valuable 
music  collection  to  Leipsic.  B.  July 
17,  1804;    d.  Leipsic,  Oct.  26,  1877. 

Becker  (Constantin  Julius)  wrote 
"  Mannergesang-Schule,"  1845 ;  com- 
posed opera  "  Die  Belagerung  von  Bel- 
grad,"  Leipsic,  1848,  a  symphony;  as- 
sisted Schumann  in  editing  "  Neue 
Zeitschrift  fiir  Musik."  B.  Freiberg, 
Feb.  3,  1811 ;  d.  OberlSssnitz,  Feb.  26, 
1859. 

Becker  (Dietrich)  published  "  Mu- 
sikalische   Frtlhlingsfructe,"    1668; 


S£]CK£ja 


48 


BEETHOVEN 


■composer  and  violinist  to  the  Senate 
of  Hamburg,  17th  century. 

Becker  (Hugo)  played  'cello  in  solo 
and  in  the  "  Frankfort  Quartet " ; 
taught  in  Frankfort  Conservatory. 
B.  Strasburg,  Feb.  13,  1864,  son  of 
JEAN;    add.  Frankfort. 

Becker  (Jacob)  founded  piano  busi- 
ness in  St.  Petersburg,  1841.  B.  Ba- 
varian Palatinate.  Paul  Peterson  suc- 
ceeded him,  1871. 

Becker  (Jean)  played  violin  with 
distinction ;  founded  the  "  Florentine 
Quartet";  led  London  Philharmonic 
concerts.  B.  Mannheim,  May  11, 
1833;    d.  Mannheim,  Oct.  10,  1884. 

Beckwith.  (John  Charles)  played 
organ  Norwich  Cathedral,  succeeding 
his  father,  JOHN  CHRISTMAS.  B. 
1778;    d.  Oct.  11,  1819. 

Beckwith  (John  Christmas)  com- 
posed chants,  anthems;  played  organ 
Norwich  Cathedral.  B.  Norwich,  Dec. 
25,  1750;   d.  June  3,  1809. 

Bedos  de  Celles  (Dom  Frangois) 
wrote  "  L'Art  du  facteur  d'orgues," 
Paris,  1766.  B.  Caux,  France;  entered 
Benedictine  Order,  Toulouse,  1726;  d. 
St.  Maur,  Nov.  25,  1779. 

Beer  (Jacob  Meyer)  was  the  origi- 
nal name  of  Giacomo  MEYERBEER. 

Beer  (Joseph)  played,  composed  for, 
and  improved  the  clarinet  by  adding  a 
fifth  key.  B.  May  18,  1774,  Grunwald, 
Bohemia;    d.  Potsdam,  1811. 

Beethoven,  van  (Ludwig)  com- 
posed nine  great  symphonies,  the  last 
with  chorus,  the  opera  "  FIDELIO," 
unsurpassed  sonatas  for  piano,  and 
established  himself  for  all  time  as  the 
world's  greatest  master  of  absolute 
music.  He  composed,  in  fact,  in  every 
form  known  to  his  time,  often  ex- 
panding, sometimes  modifying,  always 
improving,  never  inventing.  Neither 
formalist  nor  revolutionist,  but  over- 
riding rules  only  when  they  seemed  to 
fetter  his  genius,  assuming  no  pose 
of  mysticism,  stooping  to  such  pro- 
gramme music  as  a  battle  piece,  elevat- 
ing that  form  to  the  highest  pinnacle 
in  the  Pastoral  Symphony;  revising, 
correcting,  rewriting  his  music  with 
infinite  patience;  striving  always  for 
higher  inspiration  and  clarity  of  ex- 
pression, he  stood  aloof  from  his  con- 


temporaries, and  he  stands  alone  to- 
day —  a  sun  in  the  musical  firmament 
wherein  other  composers  are  the  stars, 
the  planets,  the  comets,  if  you  will,  — 
or  merely  the  satellites.  He  was  bap- 
tized at  Bonn,  Dee.  17,  1770,  from 
which  it  may  be  inferred  that  he  was 
born  on  the  previous  day.  The  Bee- 
thovens  were  not  noble,  but  followed 
the  Dutch  custom  of  indicating  their 
place  of  origin  by  the  prefix  "  van." 
This  appears  to  have  been  an  obscure 
village  near  Louvain,  whence  they  mi- 
grated to  Antwerp  in  1680.  Ludwig 
van  Beethoven  went  from  there  to 
Bonn  as  musician  and  tenor  singer  to 
the  Elector  of  Cologne.  His  son 
Johann  sang  bass,  and  became  elec- 
toral chapelmaster  in  Mar.,  1773.  On 
Nov.  12,  1767,  Johann  married  Maria 
Magdalena  Leym,  bom  Keverich,  wid- 
owed daughter  of  the  chief  cook  at 
Ehrenbreitstein,  from  which'  union 
were  born  seven  children,  the  subject 
of  this  sketch  being  second,  and  the 
eldest  to  survive  infancy.  Since  1889 
No.  515  Bonngasse,  where  Ludwig  was 
born,  has  been  reserved  as  a  memorial, 
having  been  purchased  by  an  associa- 
tion of  which  the  late  Dr.  Joachim 
was  president.  The  elder  Ludwig  sur- 
vived until  Dec.  24,  1773,  when  his 
grandson,  who  distinctly  remembered 
him  in  after  life,  was  three  years  old. 
Young  Ludwig  began  to  study  both 
clavier  and  violin  when  four  years  of 
age.  To  these  studies  his  father  added 
the  three  Rs,  and  until  he  was  13  he 
picked  up  a  little  Latin  at  a  public 
school.  At  eight  he  played  in  public, 
and  the  following  year,  having  nothing 
more  to  learn  from  his  father,  took 
lessons  from  Pfeiffer,  a  musician  at- 
tached to  the  Bonn  opera,  and  studied 
organ  virith  Van  den  Eeden.  At  the  age 
of  10  he  composed  variations,  which 
were  published  in  1783.  Neefe,  who 
succeeded  to  the  post  of  court  organist 
and  likewise  taught  Beethoven,  pre- 
dicted that  he  would  become  a  second 
Mozart,  and  left  him  in  charge  of  the 
organ  when  not  yet  12  years  old 
Beethoven  could  then  play  nearly  all 
of  Bach's  Well  Tempered  Clavier,  and 
read  well  at  sight.  At  12  the  child 
became    cembalist    to    the    orchestra, 


BEETHOVEN 


49 


BEETHOVEN 


which  required  that  he  should  con- 
duct the  opera  band.  In  this  position 
be  became  acquainted  with  operas  by 
Gluck,  Paisiello,  Salieri,  and  Sarti. 
Three  sonatas  for  solo,  piano,  and  the 
song  "  Schilderung  eines  Madchens," 
published  in  1783,  appear  to  have  been 
composed  at  this  time.  For  his  work 
in  the  theatre  the  lad  received  no 
salary,  but  soon  he  was  appointed  as- 
sistant organist  to  Keefe,  and  as  such 
received  150  florins.  On  the  death  of 
Elector  Max  Friedrich,  his  successor. 
Max  Franz,  made  a  revision  of  his 
household,  reducing  the  allowance  to 
Neefe,  but  without  increasing  that  of 
Beethoven.  The  song  "  An  einem 
Saugling  "  and  a  rondo  for  piano  were 
published  in  1784,  and  in  1785  he  pub- 
lished the  song  "  Wenn  jemand  eine 
Reise  thut,"  three  quartets  for  piano 
and  strings,  and  received  violin  lessons 
from  Franz  Ries.  Beethoven's  first 
visit  to  Vienna,  made  in  1787,  afforded 
opportunity  for  a  few  lessons  from 
Mozart,  who  is  said  to  have  remarked 
on  hearing  him  play :  "  Pay  attention 
to  him;  he  will  make  a  noise  in  the 
world  some  day  or  other."  He  seems 
likewise  to  have  attracted  the  atten- 
tion of  Haydn,  who  wrote  to  Artaria, 
"  I  should  like  to  know  who  this  Lud- 
wig  is,"  but  may  have  had  in  mind 
some  other  Ludwig.  His  sojourn  in 
Vienna  was  abruptly  terminated  by 
the  illness  of  his  mother,  who  died 
July  17.  A  piano  prelude  in  F  minor 
and  a  trio  in  E  flat  are  dated  1787, 
and  in  that  year  he  formed  the 
acquaintance  of  the  widowed  Frau  von 
Breuning,  with  whose  family  he  main- 
tained a  lifelong  friendship,  and  of 
the  young  Count  Waldstein,  to  whom 
he  afterwards  dedicated  one  of  his 
greatest  sonatas.  Frau  von  Breuning 
engaged  Beethoven  to  give  lessons  to 
her  little  girl  and  the  youngest  of  her 
three  sons,  and  soon  made  him  one  of 
the  family.  His  acquaintance  with  the 
Countess  Hatzfeld  dates  from  the 
same  period.  In  1788  Beethoven,  while 
retaining  his  post  of  assistant  organist 
to  the  electoral  court  at  Bonn,  played 
viola  in  the  opera,  which  had  been  re- 
modelled by  the  Elector,  included  an 
orchestra  of  31,  led  by  Reicha,  with  an 


extended  repertoire  and  a  goodly  array 
of  singers.  Mozart's  operas  were  given 
frequently.  In  this  year  Beethoven 
was  recognized  as  the  head  of  his 
family.  His  father  had  lost  his  voice, 
and  had  become  a  drunkard,  and,  while 
the  Elector  did  not  strike  him  off  his 
pay  roll,  he  directed  part  of  his  salary 
be  paid  the  son.  In  1790  Haydn,  who 
was  on  his  way  to  London,  accom- 
panied by  Salomon,  was  the  guest  of 
the  Elector  on  Christmas  Day.  It  is 
probable  that  the  two  masters,  one  in 
his  zenith,  the  other  yet  unknown, 
met  on  this  occasion,  and  it  is  certain 
that  two  years  later,  when  Haydn  was 
returning  from  London,  and  again 
stopped  at  Bonn,  Beethoven  showed 
him  a  cantata  which  he  praised  highly. 
Two  cantatas,  one  of  the  death  of 
Emperor  Joseph,  the  song  "  Der  freie 
Mann,"  two  piano  preludes,  the  "  Venni 
Amore  "  ji^ariations,  the  "  Ritter  bal- 
let" (possibly  arranged  by  Count 
Waldstein ) ,  an  octet  and  a  rondino 
for  strings,  a  trio  for  strings,  14  varia- 
tions in  E  flat  for  piano,  violin,  and 
'cello,  12  variations  for  violin  and 
piano,  some  songs,  and  an  allegro  and 
minuet  for  two  flutes  were  composed 
in  these  years.  By  this  time,  although 
his  compositions  were  fewer  than 
those  of  other  great  composers  at  the 
same  age,  the  Elector  seems  to  have 
become  impressed  with  Beethoven's 
genius,  for  he  arranged  to  send  him 
to  Vienna  to  study  with  Haydn,  pay- 
ing his  salary  for  two  years.  Bee- 
thoven arrived  in  Vienna  in  Nov., 
1792,  with  a  matter  of  25  ducats,  or 
about  $62,  in  his  pockets,  and  was 
cordially  received  by  Haydn,  who  is 
reported  to  have  said  that  he  meant 
to  set  him  to  work  on  great  operas 
in  anticipation  of  his  own  retirement. 
He  lodged  in  the  garret  of  a  printing 
office  outside  the  city  walls,  and  paid 
about  25  cents  an  hour  for  his  lessons 
from  the  most  celebrated  composer  of 
the  day.  Fux's  "  Gradus  ad  Parnas- 
sum  "  was  the  text  book  used.  The 
relations  between  master  and  pupil 
soon  ceased  to  be  cordial,  and,  al- 
though there  was  no  open  disagree- 
ment, Beethoven  obtained  instruction 
from  Schenck  in  secret,  and  in  1794, 


BEETHOVEN 


50 


BEETHOVEH 


when  Haydn  again  went  to  England, 
studied  counterpoint  with  Albrechts- 
berger  and  violin  with  Schuppanzigh. 
Beethoven  never  acknowledged  any 
obligation  to  Haydn,  and  as  it  was  the 
rule  of  that  master  to  keep  still  when 
he  couldn't  speak  well  of  people,  his 
opinion  of  his  pupil  is  doubtful.  Al- 
breehtsberger,  however,  did  not  hesi- 
tate to  warn  his  other  pupils  to  let 
Beethoven  alone  because  he  was  "  in- 
capable of  learning,  and  would  never 
amount  to  anything."  In  1792  Bee- 
thoven's father  died,  but  the  Elector 
continued,  at  Beethoven's  request,  to 
pay  his  salary  to  his  brothers  in  Bonn 
until  Mar.,  1794,  continuing  Beetho- 
ven's own  allowance  as  well.  A  few 
months  later  the  French  Republican 
army  seized  Bonn,  and  Beethoven  was 
thereafter  to  regard  Vienna  as  his 
home.  Despite  bad  manners,  slovenly 
habits,  and  a  total  disregard  for  con- 
ventions, Beethoven  made  warm  friends 
among  the  nobility,  and  Prince  and 
Princess  Karl  Lichnowsky,  who  had 
already  presented  him  with  a  quartet 
ol  strings,  now  made  him  an  allow- 
ance of  600  guldens  per  annum,  be- 
sides keeping  a  room  at  his  disposal 
in  their  house.  He  quarrelled  with  his 
friends  and  patrons  on  the  slightest 
provocation,  often  without  any  at  all, 
though  he  sometimes  made  profuse 
apologies  when  realizing  himself  in 
the  wrong.  An  amusing  instance  of 
his  arrogance  was  displayed  when  he 
learned  that  Prince  Lichnowsky  had 
ordered  his  servant  to  answer  Bee- 
thoven's bell  before  his  ovni.  Beetho- 
ven thereupon  promptly  engaged  a 
servant  for  his  exclusive  use.  It  may 
be  that  the  Viennese  regarded  his  in- 
dependence as  a,  joke,  it  may  be  that 
his  remarkable  powers  of  improvising 
were  weighed  against  his  faults.  At 
any  rate,  he  was  not  merely  tolerated, 
but  cultivated  —  by  women  as  well  as 
men.  His  industry  in  composition  was 
prodigious.  He  ordinarily  arose  about 
five  o'clock  and  worked  until  noon, 
when  dinner  was  served,  but  he  some- 
times forgot  to  eat.  He  often  took 
long  walks  in  the  afternoon,  especially 
if  living  in  one  of  the  many  villages 
in  the  environs  of  Vienna,  as  was  his 


rule  in  summer;  spending  his  even- 
ing in  society  or  at  the  theatre.  Dur- 
ing his  walks  he  always  carried  a  note 
book  in  which  to  jot  down  musical 
ideas  as  they  occurred  to  him,  and  he 
usually  kept  several  compositions  in 
hand  at  a  time,  working  at  each  in 
turn,  as  he  felt  disposed.  He  hated  to 
be  interrupted,  and  often  sang  the 
melodies  he  was  writing  in  a  voice  far 
from  pleasant,  strumming  at  his  piano, 
stamping,  or  roaring  aloud.  Some- 
times he  spent  days  in  rewriting.  His 
note  books  show  18  attempts  at  one 
aria  in  "  Fidelio"  (O  Hoflfnung).  Tlie 
irregularity  of  his  habits  and  his  need 
of  solitude  when  composing  may  have 
had  something  to  do  with  the  frequency 
with  which  he  changed  his  lodging, 
often  at  great  expense  and  incon- 
venience. In  1895  the  list  of  -composi- 
tions written  in  Vienna  included  some 
trios,  the  first  three  piano  sonatas, 
which  he  dedicated  to  Haydn;  12  Va- 
riations on  "  Se  vuol  ballare,"  13  on 
"  Es  war  einmal,"  eight  for  four  hands 
on  Count  Waldstein's  theme,  nine  for 
solo  piano  on  "  Quant'  e  piil  bello,"  a 
trio  for  oboes,  corno  inglese,  and  piano, 
and  a  violin  rondo  in  G,  the  B  flat 
concerto  for  piano  and  orchestra,  the 
songs  "  Adelaide,"  "  Opferlied,"  and 
"Seufzer  eines  Ungeliebten";  12  min- 
uets, 12  Deutsche  Tanze  for  orchestra, 
and  the  canon  "  Im  Arme  der  Liebe." 
Heretofore  Beethoven  had  only  played 
in  private  houses  in  Vienna.    Mar.  29, 

1795,  he  appeared  at  the  annual  actors' 
fund  benefit  at  the  Burg  Theatre,  play- 
ing his  own  concerto  in  C  major; 
two  days  later  playing  a  concerto  of 
Mozart's  at  the  benefit  given  his  widow, 
and  on  Dec.  18,  a  concerto  of  his  own 
at  a  concert  given  by  Haydn.    Jan.  10, 

1796,  he  played  with  Haydn  again,  and 
then  visited  Nuremberg,  and  perhaps 
Prague,  and  finally  Berlin,  where  the 
king  gave  him  a  box  of  gold  coin.  He 
was  in  Prague  during  February,  and 
composed  "  Ah  perfldo "  for  Mme. 
Duschek,  but  November  found  him 
back  in  Vienna,  where  he  composed  a 
farewell  song  for  the  troops  leaving 
for  the  Napoleonic  wars,  and  later 
gave  a  concert  with  the  Rombergs. 
Three  piano  sonatas  (Op.  2),  12  varia- 


BEETHOVEN 


51 


BEETHOVEN 


tions  on  a  minuet  "  a  la  Vigano,''  and 
six  minuets  for  piano  were  published 
in  1796;  while  many  more  important 
works  were  under  way.  In  1798  Bee- 
thoven met  Bernadotte,  then  French 
ambassador  at  Vienna,  from  whom  it 
is  said  he  first  received  the  idea  of  the 
Eroica  symphony.  His  amusing  en- 
counter with  Steibelt,  the  pianist, 
occurred  at  this  time.  Beethoven  had 
composed  a  trio  for  piano,  clarinet, 
and  'cello  which  was  played  at  the 
house  of  Count  Fries.  Steibelt  had 
assumed  a  haughty  manner,  and  when 
they  met  again  a  week  later,  Steibelt 
produced  a  new  quintet,  and  extem- 
porized on  the  finale  of  Beethoven's 
trio;  whereupon  Beethoven  took  the 
'cello  part  of  Steibelt's  composition, 
turned  it  upside  down,  and  played  a 
theme  and  variations  which  drove  Stei- 
belt out  of  the  house.  His  encounter 
with  Woefl,  which  happened  on  his 
return  from  two  successful  concerts 
in  Prague,  had  a  more  agreeable  end- 
ing. The  two  men  played  together  at 
Coimt  Wetzlar's  home,  and  became 
good  friends,  although  Beethoven  did 
not  return  the  compliment  Woefi  after- 
wards paid  him  in  dedicating  a  group 
of  sonatas  to  him.  The  first  concert 
which  Beethoven  undertook  for  his  own 
benefit  in  Vienna  took  place  April  2, 
1800,  at  which  his  Symphony  No.  1, 
which  had  been  completed  the  previous 
year,  and  his  Septet  were  produced, 
and  at  which  he  played  a  piano  con- 
certo of  his  own.  April  18  he  appeared 
with  Punto,  the  horn  player,  at  a  con- 
cert given  by  the  latter.  They  played 
Beethoven's  horn  and  piano  sonata, 
which  won  an  encore  despite  the  Burg 
Theatre's  rules  to  the  contrary.  In 
this  year  Beethoven  began  his  practice 
of  spending  the  summer  in  the  country, 
going  to  Unter-Dobing,  a  village  two 
miles  from  Vienna.  On  his  return  to 
town  he  accepted  Czerny  as  a  pupil. 
Some  idea  of  Beethoven's  business 
methods  may  be  had  from  the  state- 
ment that  about  this  time  he  sold  his 
Septet,  Symphony  in  C,  Piano  con- 
certo in  B  flat,  and  B  flat  sonata  to 
Hofl'meister  of  Leipsic  for  20  ducats, 
or  about  $50  each,  himself  reducing 
the    concerto    to    half   price    on    the 


ground  that  it  was  by  no  means  one 
of  his  best.  Mar.  28,  1801,  his  bal- 
let, "  Prometheus,"  was  produced  at 
the  Burg  Theatre,  where  it  had  a  run 
of  16  nights.  Its  popularity  resulted 
in  the  publication  of  a  piano  score,  and 
the  following  year  it  had  a  second  run 
of  13  nights.  With  money  in  his 
pocket  Beethoven  exchanged  the  lodg- 
ings he  had  maintained  for  the  past 
two  years  at  No.  241  "  im  tiefen 
Graben"  to  the  more  salubrious  Sailer- 
statte,  whence  he  could  overlook  the 
ramparts;  and  in  the  summer  he 
went  to  Hetzendorf,  where  he  worked 
at  "The  Mount  of  Olives,"  his  ora- 
torio to  words  by  Huber.  Beethoven, 
at  this  time  entering  upon  his  most 
prolific  and  useful  period  as  a  com- 
poser, began  to  have. premonitions  of 
the  deafness  which  was  soon  to  over- 
take him,  and  of  the  liver  complaint, 
both  the  result  of  a  severe  malady  of 
early  manhood,  which  combined  to  ren- 
der him  melancholy  and  more  irascible 
than  ever  in  later  life.  His  constitu- 
tion was  naturally  rugged.  Although 
but  five  feet  five  inches  high,  he  was 
stockily  built,  with  broad  shoulders 
and  powerful  muscles.  His  hair,  which 
became  perfectly  white  toward  the 
close  of  his  life,  was  black  and  abun- 
dant; his  complexion  ruddy,  and  he 
wore  neither  beard  nor  moustache,  al- 
though he  had  to  shave  up  to  his  eyes. 
His  teeth  were  white  and  sound;  his 
eyes  dark,  almost  black,  were  very  ex- 
pressive, redeeming  a  face  which  may 
have  been  ugly,  but  was  not  without 
nobility.  His  fingers  were  short, 
blunt,  covered  with  hair,  but  very 
strong.  The  violin  sonatas  in  A 
minor  and  F,  the  grand  sonatas  for 
piano  in  A  flat  and  D,  and  the  twin 
sonatas  he  entitled  "  Quasi  Fantasia," 
the  second  of  which  has  become  known 
as  "The  Moonlight"  from  a  refer- 
ence to  moonlight  in  a,  review  by 
Rellstab,  were  all  composed  at  a  time 
when  he  realized  his  deafness  was  pro- 
gressive and  incurable,  and  in  which 
he  wrote:  "Every  day  I  come  nearer 
to  the  aim  which  I  feel,  though  I 
cannot  describe  it,  and  on  which  alone 
your  Beethoven  can  exist.  No  more 
rest  for  him!  "    April  5,  1803,  "The 


BEETHOVEU  52 

Mount  of  Olives  "  was  performed  at 
the  Theatre  an  der  Wien,  and  the 
Symphony  in  D  had  its  first  hearing, 
while  Beethoven  himself  played  his 
piano  concerto  in  C  minor.  The  lovely 
and  much  misunderstood  "  Kreutzer  " 
sonata  was  composed  for  a  concert  at 
the  Augarten,  May  17,  and  performed 
by  Beethoven  and  Bridgetower,  the 
Mulatto  violinist.  During  the  summer 
Beethoven  was  at  work  upon  "  Fidelio," 
having  promised  to  write  an  opera  for 
Schikaneder  of  the  Theatre  an  der 
Wien,  and  upon  the  "  Eroica."  This 
great  symphony,  which  was  to  have 
been  called  "  Napoleon  Bonaparte," 
was  completed  and  ready  for  trans- 
mission to  Paris  when  the  news  came 
that  Napoleon  had  made  himself  em- 
peror. Beethoven,  who  loved  to  mingle 
with  the  nobility,  but  was  always  a 
radical  at  heart,  tore  off  the  title  page 
in  a  rage,  and  afterwards  gave  it  the 
title  which  may  be  translated  "  Heroic 
symphony  to  celebrate  the  memory  of 
a  great  man."  His  revulsion  of  feel- 
ing toward  Napoleon  may  have  had 
something  to  do  with  his  subsequent 
choice  of  "  Rule  Britannia  "  and  "  God 
Save  the  King "  as  themes  for  varia- 
tions. In  1805  Beethoven  met  Cheru- 
bini,  then  visiting  Vienna,  and  struck 
up  a  warm  friendship  with  him.  He 
esteemed  Cherubini  above  all '  living 
composers,  and  Handel  best  of  those 
who  had  passed  away.  The  opera 
"  Fidelio  "  was  complete  on  his  return 
that  year  from  his  customary  summer 
sojourn  in  the  country.  Beethoven  now 
took  lodgings  in  the  Theatre  an  der 
Wien,  where  the  work  was  performed 
with  what  is  now  known  as  the  "  Ijeo- 
nore  Overture  No.  2,"  Nov.  20.  The 
French  were  then  in  possession  of 
Vienna,  which  had  a  depressing  effect 
on  the  populace.  Beethoven  had  been 
disgusted  with  the  rehearsals,  and, 
after  the  third  performance,  the  work 
was  withdrawn.  Beethoven  consented 
to  cut  it  down  from  three  acts  to  two, 
eliminating  three  numbers,  and  it  was 
again  presented,  and  with  better  suc- 
cess, Mar.  29,  1806,  until  Beethoven 
and  Baron  Braun,  intendant  of  the 
theatre,  quarrelled,  and  the  composer 
>vithdrew   his   work.      What   is   now 


BEETHOVEN 


known  as  the  "  Leonore  Overture 
No.  3 "  was  played  at  the  second  , 
series  of  performances.  In  March, 
1807,  Beethoven  received  a  large  sum 
of  money  from  a  benefit  concert  of  his 
own  works.  The  extraordinary  pro- 
gramme included  his  first  four  sym- 
phonies, the  fourth  recently  completed. 
The  sonata  in  F  minor.  Op.  57,  which 
the  Hamburg  publisher  Cranz  has 
called  "  Appassionata,"  the  Triple  con- 
certo, and  the  32  Variations  for  piano 
appeared  that  year;  and  in  1808  the 
publications  included  the  "  Coriolan  " 
overture,  three  string  quartets.  Op.  59, 
while  the  C  minor  and  Pastoral  sym- 
phonies, and  the  Choral  Fantasia  were 
made  .known  at  a  concert,  Dec.  22,  at 
the  Theatre  an  der  Wien.  Jerome 
Bonaparte,  king  of  Westphalia,  at  this 
time  offered  Beethoven  a  salary  equal 
to  about  $1,500  if  he  would  become 
chapelmaster  at  Cassel.  The  offer  was 
declined,  but  it  caused  Archduke  Ru- 
dolph and  Princes  Lobkowitz  and  Kin- 
sky  to  guarantee  Beethoven  an  annu- 
ity of  about  $2,000.  Its  actual  value 
speedily  declined  with  the  value  of 
paper  currency,  and  finally  brought 
him  into  litigation  with  the  Kinsky 
estate,  although  the  suit  was  compro- 
mised before  trial.  The  second  siege 
of  Vienna,  a  sojourn  at  Baden,  where  he 
was  somewhat  benefited  by  the  baths; 
his  engagement  to  harmonize  national 
melodies  for  Thompson,  the  Edin- 
burgh publisher ;  his  financial  troubles, 
caused  by  the  depreciation  of  the  cur- 
rency in  which  his  annuity  was  paid; 
Wellington's  defeat  of  the  French  at 
Vittoria,  which  inspired  "The  Battle 
Symphony,"  were  external  episodes  of 
the  next  five  years,  during  which 
Beethoven  composed  the  "  Egmont " 
overture,  "  King  Stephen,"  "  The  Ruins 
of  Athens,"  the  Seventh  and  Eighth 
symphonies,  and  many  works  of  smaller 
proportions.  "  The  Battle  Symphony," 
celebrating  Wellington's  victory,  pro- 
gramme music  suggested  by  Maelzel, 
was  performed  at  a  great  concert,  Dec. 
8,  1813,  in  aid  of  soldiers  wounded  at 
Hanau,  which  was  likewise  the  occa- 
sion of  the  Seventh  Symphony's  first 
performance,  and  the  programme  was 
repeated  four  days  later.    The  Eighth 


BEETHOVEN 


53 


BEETHOVEN 


Symphony  was  first  played  in  Jan., 
1814",  but  was  not  as  well  received  as 
the  Seventh,  "  because  it  is  so  much 
better,"  said  the  composer.  The  death 
of  Prince  Lichnowsky,  Beethoven's 
earliest  patron  and  continuous  friend, 
and  his  quarrel  with  Maelzel,  whom 
he  sued  for  taking  an  unauthorized 
copy  of  "  The  Battle  Symphony "  to 
England,  and  a  successful  revival  of 
"  Fidelio,"  were  events  of  1814;  and 
during  the  Congress  of  Vienna  Beetho- 
ven gave  two  gigantic  concerts  which 
were  attended  by  all  the  notables  (at 
one  he  had  an  audience  of  6,000),  met 
the  Empress  of  Russia,  to  whom  he 
dedicated  a  polonaise,  Op.  89,  and  the 
piano  arrangement  of  his  Seventh  Sym- 
phony in  acknowledgment  of  her  pres- 
ent of  200  ducats,  or  about  $500.  In 
1815  Caspar  Beethoven  died,  leaving 
his  nine  year  old  son  to  the  composer's 
care.  Beethoven  had  long  assisted  this 
brother  and  his  family,  and  had  be- 
come involved  in  a  quarrel  with  his 
devoted  friend  Stephen  Breuning  be- 
cause of  Caspar.  But  he  detested  his 
brother's  widow,  and  only,  obtained 
possession  of  his  nephew  after  bitter 
litigation  with  her.  The  lad  Carl, 
toward  whom  Beethoven  was  always 
kind  and  indulgent,  proved  a  trouble- 
some and  expensive  care.  There  was 
compensation  that  year  in  the  fact  of 
his  then  receiving  his  first  public 
honour  —  the  freedom  of  the  city  of 
Vienna.  In  1818  Beethoven  began  his 
grand  Mass,  meant  for  the  installation 
of  his  patron  Archduke  Rudolph  as 
Archbishop  of  Olmutz,  although  it  was 
not  completed  until  after  that  event. 
He  was  also  busy  with  sonatas  and 
the  great  Ninth  Symphony,  and  he 
seems  to  have  searched  eagerly  for  an 
opera  libretto,  without  being  able  to 
find  one  that  suited  him.  In  1824 
Carl  Beethoven,  who  had  failed  in  his 
examinations  at  the  University  and  at 
the  Polytechnic  as  well,  attempted  sui- 
cide, and  in  consequence  was  arrested 
and  ordered  to  leave  Vienna.  Finally 
he  enlisted  in  the  array,  but  in  1826 
he  joined  his  uncle  at  the  home  of  Jo- 
hann,  another  of  Beethoven's  brothers, 
who  had  a  small  estate  at  Gneixendorf, 
a  village  near  Krems.     As  the  result 


of  another  quarrel,  due  the  grasping 
nature  of  Johann,  Beethoven  deter- 
mined to  return  with  Carl  to  Vienna, 
but  caught  cold  in  making  the  journey, 
and  had  to  take  to  his  bed  on  reaching 
Vienna.  The  cold  resulted  in  an  in- 
flammation of  the  lungs,  and  to  this 
dropsy  succeeded.  Beethoven  was  near- 
ing  his  end.  He  had  completed  sketches 
for  a  Tenth  Symphony,  a  requiem,  and 
music  for  "  Faust,"  and  felt  that  his 
best  work  was  yet  to  come.  Tappings 
failed  to  relieve  him,  however;  he  be- 
came emaciated  and  weak.  March  24, 
1827,  the  sacraments  were  adminis- 
tered, and  on  Monday,  March  26,  he 
died  during  a  violent  thunderstorm. 
There  were  most  elaborate  ceremonies 
at  the  funeral  three  days  later,  which 
was  attended  by  a  multitude  of  people 
of  every  class,  and  the  remains  of  the 
illustrious  composer  were  interred  in 
the  Wahringer  Cemetery.  A  complete 
list  of  Beethoven's  works  according  to 
the  Breitkopf  and  JIartel  catalogue  is 
here  annexed.  For  further  study  of 
his  life  see:  Beethoven's  Letters, 
"  Ludwig  van  Beethovens  Leben,"  A.  W. 
Thayer,  Berlin,  1866-72-79;  "  Neue 
Beethoveniana,"  Theodor  Frimmel,  Vi- 
enna, 1888-90;  "  Biographie,"  Schind- 
ler,  Munster,  1840;  "  Biographische 
Notizen,"  Wegeler  and  Ries,  Coblenz, 
1838;  "  Beethoven  et  ses  Trois  Styles," 
W.  von  Lenz,  St.  Petersburg,  1852; 
"  Beethoven,"  Richard  Wagner,  Leip- 
sic,  1870 ;  "  Beethoven  and  his  Nine 
Symphonies,"  Sir  George  Grove,  1898; 
"  Ludwig  van  Beethoven,"  W.  J.  Wa- 
sielewski,  Leipsic,  1895.  Orchestral 
Works.  First  Symphony,  Op.  21  in  C; 
Second  Symphony,  Op.  36  in  D;  Third 
Symphony,  Op.  55  in  E  flat;  Fourth 
Symphony,  Op.  60  in  B  flat;  Fifth  Sym- 
phony, Op.  67  in  C  minor;  Sixth 
Symphony,  Op.  68  in  F ;  Seventh  Sym- 
phony, Op.  92  in  A;  Eighth  Sym- 
phony, Op.  93  in  F;  Ninth  Symphony, 
Op.  125  in  D  minor.  Miscellaneous 
orchestral  works:  Wellington's  Vic- 
tory or  the  Battle  of  Vittoria.  Op.  91 ; 
The  Creatures  of  Prometheus,  Ballet, 
Op.  43;  Music  to  Goethe's  Tragedy 
"Egmont,"  Op.  84;  Allegretto  in  B 
flat;  March  from  "Tarpeja,"  in  C; 
Military  March,  in  D;    Twelve  Min- 


BEBTHOVEU  54 

uets,  Twelve  German  Dances,  Twelve 
Contra-Dances.  Overtures:  to  Corio- 
lan.    Op.  62  in  C  minor;    to  Leonore 

(Fidelio).  No.  1.  Op.  138  in  C;  to 
Leonore  (Fidelio).  No.  2.  Op.  72  in  C; 
to  Leonore  (Fidelio).  No.  3.  Op.  72 
in  C;  Op.  115  in  C;  to  King  Stephen, 
Op.  117  in  E  flat;  Op.  124  in  C;  to 
Prometheus.    Op.  43  in  C;    to  Fidelio 

(Leonore).  Op.  72  in  E;  to  Egmont. 
Op.  84  in  F  minor;  to  the  Ruins  of 
Athens.  Op.  113  in  Gr.  For  Violin  and 
Orchestra:  Concerto,  Op.  61  in  D; 
Romance,  Op.  40  in  G;  Romance,  Op. 
50  in  F.  Chamber  IVEusic.  Septet  for 
Violin,  Viola,  Horn,  Clarinet,  Bas- 
soon, 'Cello,  and  Double.  Bass.  Op.  40 
in  E  flat;  Sextet  for  2  Violins,  Viola, 
'Cello,  and  2  Horns  obligato.  Op.  81b 
in  E  flat;  Quintet  for  2  Violins,  2 
Violas,  and  'Cello.  Op.  29  in  C; 
Fugue  for  2  Violins,  2  Violas,  and 
'Cello.  Op.  137  in  D;  Quintet  for 
2  Violins,  2  Violas,  and  'Cello.  Op.  4 
in  E  flat.  Prom  the  Octet  Op.  103; 
Quintet  for  2  Violins,  2  Violas,  and 
'Cello.  Op.  104  in  C  minor.  From 
the  Trio  Op.  1,  No.  3.  String  quartets : 
Op.  18,  No.  1  in  F;  Op.  18,  No.  2  in 
G;  Op.  18,  No.  3  in  D;  Op.  18,  No.  4 
in  C  minor;  Op.  18,  No.  5  in  A;  Op. 
18,  No.  6  in  B  flat;  Op.  59,  No.  1  in  F ; 
Op.  59,  No.  2  in  E  minor;  Op.  59, 
No.  3  in  C;  Op.  74  in  E  flat;  Op.  95 
in  F  minor;  Op.  127  in  E  flat;  Op. 
130  in  B  flat;  Op.  131  in  C  sharp 
minor;  Op.  132  in  A  minor;  Op.  135 
in  F;  Grand  Fugue.  Op.  133  in  B  flat. 
Trios  for  Violin,  Viola,  and  'Cello: 
Op.  1  in  E  flat;  Op.  9,  No.  1  in  G; 
Op.  9,  No.  2  in  D;  Op.  9,  No.  3  in  O 
minor;  Serenade.  Op.  8  in  D.  Wind 
Instruments:  Octet  for  2  Hautboys,  2 
Clarinets,  2  Horns,  and  2  Bassoons. 
Op.  103  in  E  flat;  Rondino  for  2 
Hautboys,  2  Clarinets,  2  Horns,  and 
2  Bassoons  in  E  flat;  Sextet  for  Clar- 
inet, 2  Horns,  and  2  Bassoons.  Op.  1 
in  E  flat;  Serenade  for  Flute,  Violin, 
and  Viola.  Op.  25  in  D;  Trio  for  2 
Hautboys  and  English  Horn.  Op.  87 
in  C;  3  Duets  for  Clarinet  and  Bas- 
soon in  C,  F,  B.  Piano  and  Orchestra : 
First  Concerto.  Op.  15  in  C;  Second 
Concerto.  Op.  19  in  B  flat ;  Third  Con- 
certo.    Op.   37   in  C  minor;    Fourth 


BEETHOVEN 


Concerto.  Op.  58  in  G;  Fifth  Con- 
certo. Op.  73  in  E  flat;  Concerto  for 
Piano,  Violin,  and  'Cello.  Op.  56  in  C. 
Cadences  to  the  Piano.  Concertos; 
Fantasia  with  Chorus.  Op.  80  in  C 
minor;  Rondo  in  B  flat.  Principal 
Part  of  the  Piano.  Concerto  arranged 
from  the  Violin  Concerto  Op.  61. 
Piano  quintet  and  quartet:  Quintet 
for  Piano,  Hautboy,  Clarinet,  Horn, 
and  Bassoon.  Op.  16  in  E  flat;  3 
Quartets  for  Piano,  Violin,  Viola,  and 
'Cello.  No.  1  in  E  flat;  No.  2  in  D; 
No.  3  in  C ;  Quartet  for  Piano,  Violin, 
Viola,  and  'Cello,  from  the  Quintet 
Op.  16  in  E  flat.  Trios  for  Piano, 
Violin,  and  'Cello :  Trio.  Op.  1,  No.  1 
in  E  flat;  Trio.  Op.  1,  No.  2  in  G; 
Trio.  Op.  1,  No.  3  in  C  minor;  Trio. 
Op.  '70,  No.  1  in  D;  Trio.  Op.  70,  No. 
2  in  E  flat;  Trio.  Op.  97  in  B  flat; 
Trio  in  B  flat  in  1  part;  Trio  in  E 
flat;  Variations.  Op.  121a  in  G; 
14  Variations.  Op.  44  in  E  flat;  Trio 
for  Piano,  Clarinet  or  Violin,  and 
'Cello.  Op.  11  in  B  flat;  Trio  for 
Piano,  Violin,  and  'Cello  from  the 
Symphony  Op.  36  in  D;  Trio  for 
Piano,  Clarinet  or  Violin,  and  'Cello. 
Op.  38  in  E  flat  from  the  Septet  Op.  20. 
For  Piano  and  Violin:  Sonata.  Op. 
12,  No.  1  in  D;  Sonata.  Op.  12,  No.  2 
in  A;  Sonata.  Op.  12,  No.  3  in  E  flat; 
Sonata.  Op.  23  in  A  minor;  Sonata. 
Op.  24  ip  F;  Sonata.  Op.  30,  No.  1 
in  A;  Sonata.  Op.  30,  No.  2  in  C  ■ 
minor;  Sonata.  Op.  30,  No.  3  in  G; 
Sonata.  Op.  47  in  A;  Sonata.  Op.  96 
in  G;  Rondo  in  G;  12  Variations  (Se 
vuol  ballare)  in  F.  For  Piano  and 
'Cello:  Sonata.  Op.  5,  No.  1  in  F; 
Sonata.  Op.  5,  No.  2  in  G  minor; 
Sonata.  Op.  69  in  A;  Sonata.  Op. 
102,  No.  1  in  C;   Sonata.    Op.  102,  No. 

2  in  D;  12  Variations  (Judas  Macea- 
bsEus)  in  G;  12  Variations  (A  girl  or 
a  beloved  wife) .  Op.  66  in  F;  7  Vari- 
ations (Men  who  feel  the  power  of 
Love)  in  E  flat.  For  Piano  and  Wind 
Instruments:  Sonata.  Op.  17  with 
Horn,  in  P;  6  varied  Themes.  Op. 
105,  for  Piano  solo  or  with  Flute  or 
Violin;  10  varied  Themes.  Op.  107, 
for  Piano  solo  or  with  Flute  or  Violin. 
Piano  Duets:    Sonata.     Op.  6  in  D; 

3  Marches.    Op.  45  in  C,  E  flat,  D; 


BEETHOVEN 


55 


BEETHOVEN 


Variations  (Waldstein)  inC;  6  Vari- 
ations (Song  with  variations)  in  D. 
The  Piano  Sonatas:  Op.  2,  No.  1  in 
F  minor;  Op.  2,  No.  2  in  A;  Op.  2, 
No.  3  in  C;  Op.  7  in  E  flat;  Op.  10, 
No.  1  in  G  minor;  Op.  10,  No.  2  in  F; 
Op.  10,  No.  3  in  D;  Op.  13  in  C  minor 
(pathetic);  Op.  14,  No.  1  in  E;  Op. 
14,  No.  2  in  G;  Op.  22  in  B  flat; 
Op.  26  in  A  flat;  Op.  27,  No.  1  in  E 
flat  (quasi  fantasia)  ;  Op.  27,  No.  2  in 
C  sharp  minor  (quasi  fantasia) ;  Op. 
28  in  B;  Op.  31,  No.  1  in  G;  Op.  31, 
No.  2  in  D  minor;  Op.  31,  No.  3  in  B 
flat;  Op.  49,  No.  1  in  G  minor;  Op. 
49,  No.  2  in  G;  Op.  53  in  C;  Op.  54 
in  F;  Op.  57  in  F  minor;  Op.  78  in 
F  sharp;  Op.  79  in  G;  Op.  81a  in  E 
flat;  Op.  90  in  E  minor;  Op.  101  in  A; 
Op.  106  in  B  flat  (Hammer-Piano)  ; 
Op.  109  in  E;  Op.  110  in  A  flat;  Op. 
Ill  in  0  minor;  in  E  flat;  in  F  minor; 
Sonata  in  D;  Sonata  in  C  (easy)  ; 
2  easy  Sonatas.  No.  1  in  G,  No.  2  in  F. 
Piano  Variations  (Original  Theme) : 
Op.  34  in  F;  (with  Fugue)  Op.  35  in 
E  flat;  Op.  76  in  D;  Op.  120  in  C; 
(March  of  Dressier)  in  C  minor; 
(Quanto  6  bello)  in  A;  (Nel  cor  piil 
non  ml  sento)  in  G;  (Menuet  a  la 
Vigano)  inC;  (Russian  Dance)  in  A; 
( Une  fievre brtllante )  in  C ;  (La  stessa, 
la  stessissima)  in  B  flat;  (Kind,  willst 
du  ruhig  sehlafen )  in  F ;  ( Tandeln  und 
Scherzen)  in  F;  (Es  war  einmal)  in 
A;  (easy)  in  G;  (Swiss  Song)  in  F; 
(Vieni  amore)  in  D;  (God  save  the 
King)  in  C;  (Rule  Britannia)  in  D; 
in  C  minor;  (Ich  hab'  ein  kleines 
Huttchen  nur)  in  B  flat.  Minor  Pieces 
for  Piano:  7  Bagatelles.  Op.  33;  2 
Preludes.  Op.  39;  Rondo.  Op.  51, 
No.  1  in  C;  Rondo.  Op.  51,  No.  2  in 
G;  Fantasia.  Op.  77  in  G  minor; 
Polonaise.  Op.  89  in  C;  11  New  Baga- 
telles. Op.  119;  6  Bagatelles.  Op. 
126;  Rondo  a  Capriccio.  Op.  129  in 
G;  Andante  in  F;  Minuet  in  E  flat; 
6  Minuets;  Prelude  in  F  minor; 
Rondo  in  A;  6  Rustic  Dances;  7  Rus- 
tic Dances.  Vocal  Music.  Church 
Music:  Missa  solemnis.  Op.  123  in  D; 
Missa.  Op.  86  in  C;  Christ  at  the 
Mount  of  Olives;  Oratorio.  Op.  85. 
Dramatic  Works :  Fidelio  (Leonora), 
Opera.    Op.  72;   The  Ruins  of  Athens. 


Piece  for  a  festival.  Op.  113;  March 
and  Chorus  from  the  Ruins  of  Athena, 
etc.  Op.  114;  King  Stephen.  Op.  117; 
Final  Song  from  the  patriotic  opera 
"  The  Triumphal  Arches  " :  Es  ist  voll- 
braoht;  Final  Song  from  the  opera 
"The  Good  News."  Germania,  wie 
stehst  du,  etc.  Cantatas:  The  Glori- 
ous Moment.  Cantata.  Op.  136;  A 
calm  Sea  and  a  happy  Voyage.  Op.  1 12. 
Songs  with  Orchestra:  Scene  and  Aria: 
Ah!  Perfido,  for  Soprano.  Op.  65; 
Terzetto.  Tremate,  empj,  tremate,  for 
Soprano,  Tenor,  and  Bass.  Op.  116; 
Ofl'ertory  for  1  Voice  with  Chorus. 
Op.  121b;  Federal  Song  for  2  Soli  and 
three-part  Chorus  with  accompaniment 
of  2  Clarinets,  2  Horns,  and  2  Bas- 
soons. Op.  122;  Elegiac  Song  for  4 
Voices  with  accompaniment  of  2  Vio- 
lins, Viola,  and  'Cello.  Op.  118.  Songs 
with  Piano:  To  Hope.  Op.  32;  Ade- 
laide. Op.  46;  Six  Songs  by  Gellert. 
Op.  48:  Praying,  Charity,  On  Death, 
Worship  of  God  in  Nature,  Almighti- 
ness  and  Providence  of  God,  Peniten- 
tial Hymn;  Eight  Songs  and  Airs. 
Op.  52:  Urian's  Voyage  round  the 
Globe,  Fire  coloured,  The  little  Song 
about  tranquillity.  May  Song,  Molly's 
Farewell,  the  songs  "  Ohne  Liebe  lebe, 
wer  da  kann,"  Marmot,  The  little 
flower  of  "  Wunderhold  " ;  Six  Songs. 
Op.  75:  Mignon,  Fresh  Love,  Fresh 
Life,  From  Goethe's  Faust,  Gretel's 
Admonition,  To  the  Love  far  away, 
The  Contented  Man ;  Four  Ariettas  and 
one  Duet.  Op.  82 :  Hope,  Iiove's  Com- 
plaint, L'alnante  impaziente  (Silent 
question ) ,  L'amante  impaziente  ( Love's 
impatience ) ,  Duet,  Enjoyment  of  Life ; 
Three  Songs  by  Goethe.  Op.  83 :  De- 
light of  Melancholy,  Love-Longing, 
With  a  painted  Riband;  The  Happi- 
ness of  Friendship  (Happiness  of  Life) . 
Op.  88;  To  Hope.  Op.  94;  To  the 
Love  far  away  (Liederkreis).  Op.  98; 
The  Trustworthy  Man.  Op.  99 ;  Mer- 
kenstein.  Op.  100;  The  Kiss.  Op. 
128;  Description  of  a  Girl;  To  a 
Baby;  Farewell  Song  to  Vienna's  Ciia- 
zens ;  War  Song  of  the  Austrians ;  The 
Independent  Man;  Offertory;  Quail 
Call;  Als  die  Geliebte  sich  trennen 
wollte  (Feelings  at  Lydia's  infidelity) ; 
Song   from    a   distant   Friend;     The 


BEETHOVEN 


56 


BEETHOVEN 


Young  Man  Abroad;  The  Lover;  Love- 
Longing;  The  Silent  Night;  The  War- 
rior's Farewell;  Der  Bardengeist  (the 
minstrel's  ghost) ;  Call  from  Moun- 
tain; To  the  Svreetheart;  The  same 
(former  tune) ;  So  or  So;  The  Secret; 
Resignation;  Evening  Song  under  the 
Starry  Sky;  Kemembrance;  I  Love 
You;  Love's  Longing  by  Goethe  (in  4 
different  times)  ;  La  partenza  (Fare- 
well )  ;  In  questa  tomba  oscura ;  Sighs 
of  Refused  Lover  who  is  Enamoured; 
The  Loud  Complaint;  Song  of  the 
Monks:  Rasch  tritt  der  Tod,  etc.,  for 
3  male  Voices  without  accompani- 
ment; Canons.  Songs  with  Piano, 
Violin,  and  'Cello:  25  Scotch  Songs. 
Op.  108;  Irish  Songs;  English,  Scotch, 
Irish,  and  Italian  Songs;  12  Scotch 
Songs ;  25  Irish  Songs ;  20  Irish  Songs ; 
26  Welsh  Songs.  Supplementary  Vo- 
cal Music:  Cantata  on  the  Death  of 
the  Emperor  Joseph  II.  For  Solo, 
Chorus,  and  Orchestra;  Cantata  on 
the  Accession  of  the  Emperor  Leo- 
pold II.  For  Solo,  Chorus,  and  Or- 
chestra ;  Chorus  to  the  Festival  Piece : 
Die  Weihe  des  Hauses.  For  Solo, 
Chorus,  and  Orchestra ;  Chorus  on  the 
Allied  Princes.  For  four  Voices  and 
Orchestra;  Offertory.  For  three  Solo 
Voices,  Chorus,  and  small  Orchestra; 
Two  Arias  for  a  Bass  Voice  with  Or- 
chestral Accompaniment;  Two  Ariaa 
to  Ignaz  Umlauf 's  Opera  "  Die  schBne 
Schusterin  " ;  Aria,  "  Primo  amore  pi- 
acer  del  ciel,"  for  Soprano  with  Or- 
chestral Accompaniment;  Music  to 
Friedrich  Duncker's  Drama:  Leonora 
Prohaska,  No.  1,  Warriors'  Chorus; 
No.  2,  Romance;  No.  3,  Melodrame; 
No.  4,  Funeral  March ;  Farewell  Song. 
For  three  male  Voices;  Lobkowitz-Can- 
tata  for  three  Voices  with  Piano  Ac- 
companiment; I,  who  did  flit  to  and 
fro.  Song  for  one  Voice  with  Piano 
Accompaniment ;  Merkenstein.  For  one 
Voice  with  Piano  Accompaniment; 
The  Song  of  the  Nightingale.  For  one 
Voice  with  Piano  Accompaniment; 
Song  (for  Frau  von  Weissenthurn). 
For  one  Voice  with  Piano  Accompani- 
ment; Song  from  Metastasio's  "  Olim- 
piade."  For  one  Voice  with  Piano  Ac- 
companiment; To  Minna.  Song  for 
one  Voice  with  Piano  Accompaniment; 


O,  think  of  me!  Song  for  one  Voice 
with  Piano  Accompaniment;  Drinking- 
Song  (to  sing  at  parting).  For  one 
Voice  with  Piano  Accompaniment; 
Lament  for  one  Voice  with  Piano  Ac- 
companiment; Elegy  on  the  Death  of 
a  Poodle.  For  one  Voice  with  Piano 
Accompaniment;  Five  Canons:  I 
praise  Thee  only.  Friendship,  Trust 
and  Hope!  To-day  be  mindful  of 
Baden,  Life  is  for  Gladness.  Supple- 
mentary Instrumental  Music:  Music 
to  a  Knight-Ballet:  No.  1,  March;  No. 
2,  German  Song;  No.  3,  Hunting  Song; 
No.  4,  Romance;  No.  5,  Military  Song; 
No.  6,  Drinking-  Song;  No.  7,  German 
Dance;  No.  8,  Coda;  Two  Marches 
for  Military  Bands.  Composed  for  the 
Carousal  on  the  Glorious  Birthday  of 
Her  I.  &  R.  Majesty  Maria  Ludoviea  in 
the  I.  &  R.  Castle-Garden  at  Laxen- 
burg;  March  (Tattoo)  for  Military 
Bands;  Polonaise  for  Military  Bands; 
Ecossaise  for  Military  Bands;  Six 
Rustic  Dances  for  2  Violins  and  Baas; 
March  for  2  Clarinets,  2  Horns,  and 
2  Bassoons ;  Three  Equale  for  4  Trom- 
bones; Trio  for  Piano,  Flute,  and 
Bassoon;  Sonatina  for  Mandolin; 
Adagio  for  Mandolin;  Two  Bagatelles 
for  Piano;  Piano.  Piece  in  A  minor; 
Allegretto  in  C  minor  for  Piano; 
Cheerful.  Melancholic.  Two  small 
Piano.  Pieces;  Piano.  Piece  in  B  flat 
major;  Six  Ecoasaises  for  Piano; 
Waltz  in  E  flat  major  for  Piano; 
Waltz  in  D  major  for  Piano;  Eeoa- 
saise  in  E  flat  major  for  Piano;  Ecos- 
saise in  G  major  for  Piano ;  AUemande 
in  A  major  for  Piano;  Six  German 
Dances  for  Piano  and  Violin;  Two- 
part  Fugue  for  Organ;  Concerto  in 
E  flat  for  Piano.;  Concerto  in  D 
major  (first  Movement)  for  Piano, 
with  Orchestra.  The  music  here  classed 
as  "  Supplemental,"  and  which  is  lack- 
ing in  opus  numbers,  together  with 
eleven  "  Wiener  Tanze  "  discovered  at 
the  Thomasschule,  Leipsic,  1907,  com- 
pletes the  list  of  the  master's  authen- 
tic works.  Dr.  Hugo  Riemann  is 
authority  for  the  statement  that  these 
"  Wiener  Tanze  "  were  composed  in 
1819  for  a  society  of  seven  musicians 
(they  are  7-part  waltzes),  and  are 
the  works   referred   to  by   Schindler, 


BEFFARA  57 

which  that  biographer  was  unable  to 
trace. 

Beffara  (Louis  Frangois)  collected 
valuable  data  relating  to  Paris  opera, 
destroyed  in  the  Commune,  Paris, 
1871;  Commissaire  of  Police.  B.  No- 
nancourt,  Aug.  23,  1751;  d.  Feb.  2, 
1838. 

Beggar's  Opera.  Contained  69 
ballad  tunes  scored  by  Dr.  Pepusch, 
who  composed  the  overture.  The  witty 
text  was  written  by  John  Gay,  and  the 
first  performance  took  place  at  Lin- 
coln's Inn  Fields  Theatre,  London, 
Jan.  29,  1727,  followed  by  what  was 
the  phenomenal  run  in  those  days  of 
62  repetitions  for  the  first  season. 
The  profits  were  nearly  $20,000  for 
John  Rich,  the  manager,  and  nearly 
$3,500  for  the  author,  who  according 
to  custom  had  the  receipts  for  four 
"author's  nights."  Gay  is  said  to 
have  received  the  idea  of  "  A  Newgate 
Pastoral"  from  Swift.  He  satirized 
the  court,  the  opera,  and  the  poli- 
ticians of  the  time,  and  the  wonderful 
popularity  of  the  work  resulted  in  the 
production  of  other  BALLAD 
OPERAS.  The  ballad  tunes  were  of 
English,  Scotch,  or  Irish  origin. 

Begleiten.     Oer.    To  accompany. 

Begleitete  Fuge.  Ger.  Free  part 
fugue. 

Begleitung.   Ger.    Accompaniment. 

Begnis,  de  (Giuseppe)  sang  buffo 
rales  in  opera,  1813-24.  B.  Lugo, 
Italy,  1793;  m.  Signora  Ronzi;  d. 
Aug.  1849.  Signora  Bonzi  sang 
buffo  rSles  with  much  success  until 
eclipsed  by  Pasta;  debut,  Paris,  1819; 
m.  GIUSEPPE;    d.  Florence,  1853. 

Begrez  (Pierre  Ignace)  sang  ten. 
in  opera,  1815-22,  and  taught  singing. 
B.  Namur,  France,  Dec.  23,  1783;  d. 
Dec,  1863. 

Beklemmt  or  Beklommen.  Ger. 
"  Heavy  at  heart." 

Belaiev  (Mitrophane  Petrovich) 
founded  Leipsic  publishing  house, 
which  has  brought  out  2,000  works  by 
composers  of  "New  Russian"  school; 
established  "Russian  Symphony  Con- 
certs "  for  native  composers  in  St. 
Petersburg.  B.  St.  Petersburg,  Feb. 
10,  1836;    d.  Jan.  10,  1904. 

Belckte  (Friedrich  August)  com- 


BELL 

posed  for  and  played  trombone  in  the 
Gewandhaus  and  Royal  Berlin  orches- 
tras. B.  Luckna,  Saxony,  May  27, 
1795;    d.  Dec.  10,  1874. 

Belebt.     Ger.    Animated. 

Beliczay,  von  (Julius)  composed 
an  "  Ave  Maria,"  two  symphonies, 
songs,  and  chamber  music.  B.  Aug. 
10,  1835,  Komorn,  Hungary. 

Belisario.  Gaetano  Donizetti's 
three-act  opera,  for  which  he  also 
wrote  the  book,  was  first  performed 
at  Venice,  Feb.  17,  1836,  and  later  in 
Paris  and  London. 

Bell.  The  mouth  of  a  tubular  in- 
strimient,  gives  increased  power  be- 
cause it  permits  of  setting  a  larger 
volume  of  air  in  vibration,  and  modi- 
fies the  tone  produced.  The  curved 
mouth  of  brass  instruments  gives 
the  even  overtones  which  would 
otherwise  be  wanting  in  a  closed 
pipe. 

Bell.  In  the  modem  orchestra  bells 
have  been  superseded  by  metal  tubes 
which  are  more  easily  tuned,  may  be 
placed  in  a  frame  like  a,  xylophone, 
and  are  much  more  convenient  than 
the  old  glockenspiel,  which  was  played 
with  keys.  The  effect  of  a  chime  of 
bells  is  thus  obtained  in  "  Parsifal," 
"  Tosca,"  as  well  as  in  "  Magic  Flute," 
where  bells  were  first  employed  in 
opera.  Bells  were  used  in  the  worship 
of  Osiris;  formed  ornaments  to  the 
vestments  of  the  Jewish  high  priests, 
and  seem  to  have  been  common  to  all 
nations  for  purposes  of  signalling  and 
of  worship.  In  many  instances  the 
precious  metals  entered  into  the  com- 
position of  bells,  but  experiment  has 
proved  that  the  best  alloy,  neither  too 
brittle  nor  too  dull  in  tone,  is  76.5 
parts  of  copper  to  23.5  parts  of  tin. 
Bells  may  be  sharpened  by  shaving  the 
inside  of  the  rim,  or  fiattened  by  par- 
ing the  rim  itself.  A  chime  in  perfect 
tune  is,  however,  the  very  rare  ex- 
ception. Change  ringing  is  practised 
where  there  are  more  than  three  bells. 
Six  changes  may  be  rung  on  three 
bells,  24  changes  on  four  bells,  and  so 
the  niunber  increases  until  with  12 
bells  479,001,600  changes  are  possible. 
The  largest  known  bell,  that  cast  in 
Moscow,  1733,  now  broken,  measures 


BELL  6AMBA 


58 


BELLINI 


21  feetj  6  inches  in  diameter  at  the 
mouth  and  weighs  193  tons. 

Bell  Gamba.  Eight-foot  organ  stop 
with  bell  mouth. 

Bellaigue  (Camllle)  wrote  ^  "  Un 
sificle  de  musique  francaise,"  "  ^fitudes 
musicales  et  nouvelle  silhouettes  de 
musiciens,"  etc.;  won  first  prize  for 
piano,  Paris  Conservatoire,  1878;  con- 
tributed reviews  to  many  period- 
icals. B.  Paris,  May  24,  18S8;  add. 
Paris. 

Bellamy  (Kichard)  composed  "  Te 
Deum"  for  full  orchestra  and  an- 
thems; sang  bass  in  Eng.  Chapel 
Royal.    D.  Sept.  11,  1813. 

Bellamy  (Thomas  Ludford)  sang 
bass  at  Covent  Garden  and  Drury 
Lane,  and  at  concerts  of  "  Ancient 
Music,"  London;  managed  theatres; 
published  collection  of  glees  and  other 
songs.  B.  Westminster,  1770;  son  of 
RICHARD ;    d.  London,  Jan.  3,  1843. 

Belle  Helgne.  Jacques  Oflfenbach's 
three-act  opera  bouffe,  to  words  by 
Meilhac  and  Halgvy,  was  first  per- 
formed Dee.  17,  1864,  at  the  Paris 
Theatre  des  Vari6t6s.  The  English 
version  is  called  "  Helen,  or  Taken 
from  the  Greek." 

Bellermann  (Coustantin)  com- 
posed operas  and  oratorios;  wrote  on 
music  and  played  lute.  B.  Erfurt, 
Thuringia,  1696. 

Bellermann  (Tohann  Frledricli) 
wrote  authoritatively  on  Greek  music 
and  theory.  B.  Erfurt,  Mar.  8,  1795 ; 
d.  Feb.  4,  1874. 

Bellermann  (J.  Gottfried  Hein- 
rich)  composed  music  for  three  Greek 
plays  and  much  vocal  music;  wrote 
on  theory;  taught.  University  of  Ber- 
lin. B.  Mar.  10,  1832;  son  of  JO- 
B.AKN  FRIEDRICH;  d.  Potsdam, 
April  10,  1903. 

Belletti  (Giovanni)  sang  bar.  with 
Jenny  Lind;  debut,  Stockholm,  1837; 
toured  United  States  with  Jenny  Lind 
under  Bamum  management.  B.  1813, 
Sarzana,  Italy;   retired,  1862. 

Bell'haver  (Vincenzo)  composed 
toccata  for  organ  and  madrigals;  or- 
ganist St.  Mark's  Cathedral,  Venice, 
16th  century. 

Belli  (Domenico)  composed ;  taught 
church  music,  1610-13,  in  Florence. 


Belli  (Girolamo)  composed  sacred 
music  and  madrigals.  B.  Argenta, 
near  Ferrara;  first  publication,  1583- 
last,  1610.  ' 

Belli  (Giulio)  composed  madrigals 
and  ehiireh  music;  directed  music  in 
Imola  Cathedral,  1582 ;  entered  Fran- 
ciscan Order,  1590.  B.  about  1560, 
Longiano. 

Bellini  (Vincenzo)  composed  "La 
SONNAMBULA,"  "  NORMA,"  and  "  1 
Puritani,"  operas  remarkable  for  the 
beauty  of  their  melody,  and  which  still 
hold  their  place  in  repertoire.  Son  of 
an  organist  in  Catania,  Sicily,  who 
gave  him  his  first  instruction  in  music. 
Bellini's  talent  was  manifest  at  an 
early  age,  and  a  Sicilian  nobleman 
volunteered  to  defray  the  expense  of 
educating  him  at  the  Naples  Conserva- 
tory, then  directed  by  Zingarelli.  His 
first  work,  "Adelson  e  Salvina,"  was 
produced  in  1825,  and  gained  him  a 
commission  from  Barbaja,  impresario 
of  the  San  Carlos,  La  Scala,  and  other 
opera  houses.  "  Bianca  e  Fernando  " 
was  the  result,  and  it  was  so  well  re- 
ceived in  Naples  that  Barbaja  commis- 
sioned him  to  write  a  new  opera  for  the 
celebrated  tenor,  Rubini,  for  perform- 
ance in  Milan.  The  ornate  music  of 
Rossini  then  ruled  in  opera,  and  the 
simplicity  of  the  airs  in  "  II  Pirata " 
were  admirably  sung  by  Rubini,  and, 
after  the  performance  at  Milan,  1827, 
spread  the  young  composer's  fame 
through  other  European  music  centres. 
"  La  Straniera,"  his  next  work,  given 
at  Milan  in  1829,  likewise  met  with  a 
cordial  reception,  but  did  not  prove 
popular  elsewhere.  "  Zaira,"  produced 
1829,  in  Parma,  was  unsuccessful.  "I 
Capuletti  ed  i  Montecchi,"  produced  at 
La  Fenice  in  Venice,  1830,  was  cor- 
dially received.  Mme.  Pasta  was  the 
Romeo,  a  r6le'  later  selected  by  Jo- 
hanna Wagner  for  her  debut  in  Lon- 
don. "  La  Sonnambula,"  Bellini's 
greatest  work,  was  produced  at  La 
Scala  in  1831,  and  speedily  became 
as  popular  in  England  as  in  Italy. 
"  Norma,"  second  only  to  "  Sonnam- 
bula," followed  in  less  than  a  year. 
Bellini  visited  London  in  1833,  and 
then  went  to  Paris,  where  he  was  en- 
gaged,  on  the   advice   of  Rossini,  to 


BELIilIAir 


59 


BEITBA 


write  an  opera  for  the  Theatre  Italien. 
In  1835  "  I  Puritan! "  was  performed. 
After  its  production  Bellini  again 
visited  England,  but  was  attacked  by 
dysentery,  and  died  at  the  early  age 
of  34,  Sept.  24,  1835.  Rossini,  whose 
interest  in  the  young  composer  was 
most  fatherly,  had  advised  him  to  give 
especial  attention  to  orchestration  and 
dramatic  effect,  recognizing  weaknesses 
which  are  now  generally  apparent. 
His  flow  of  melody  was  rich  enough, 
however,  to  atone  for  many  deficien- 
cies, and  the  arias  sung  by  Tamburini, 
Alboni,  Patti,  Grisi,  Lilli,  Lehmann, 
Rubini,  Mario,  and  other  great  singers 
are  still  the  delight  of  the  few  who 
are  capable  of  interpreting  them. 

Bellman  (Carl  IBIicliael)  wrote  the 
words  and  often  the  music  for  "  Fred- 
mans  Epistolar  "  and  "  Sanger,"  which 
include  humorous  descriptions  of 
Stockholm  people.  B.  Feb.  4,  1740; 
d.  Stockholm,  Feb.  11,  1795. 

Belloc  (Teresa  Giorgi)  sang  sop. 
rdles  in  opera;  debut  at  La  Scala, 
Milan,  1804,  retiring  1828.  B.  St. 
Benigno,  Cavanese,  1784;  d.  May  13, 
1855. 

Bellows,  by  which  currents  of  air 
are  supplied  the  stops  of  an  organ, 
were  originally  of  the  primitive  type 
still  to  be  seen  in  an  old-fashioned 
kitchen.  Organs  in  the  4th  century 
were  so  equipped.  As  additional  pipes 
were  added  the  bellows  was  enlarged, 
and  two  were  employed  to  provide  con- 
tinuous pressure.  In  1762  Gumming 
invented  a  bellows  combining  the 
feeder  with  a  reservoir  which  main- 
tained a  fairly  even  pressure.  In 
large  modern  organs  the  bellows  is 
usually  replaced  by  a  rotary  fan  or 
metal  air  pump,  operated  by  hydraulic 
or  electric  power,  or  by  gas  engine. 

Bellville,  de  (Anna  Caroline)  com- 
posed 180  pieces  of  "  drawing  room 
music " ;  played  piano,  pupil  of 
Czerny;  m.  A.  J.  OURY.  B.  Landshut, 
Bavaria,  Jan.  24,  1808;  d.  Munich, 
July  22,  1880. 

Belly.  Sound  board  over  which  an 
instrument's  strings  are  stretched. 

Belshazzar.  George  Frederick 
Handel's  oratorio  to  text  by  Jennens 
was    first    produced    at    the    King's 


Theatre,  London,  Mar.  27,  1745,  under 
the  title  "  Belteshazzar."  Dates  on 
the  autograph  copy  show  it  was  begun 
Aug.  23,  1744,  and  completed  Sept. 
10  of  that  year. 

Bemberg  (Herman)  composed  the 
opera  "  Elaine,"  produced  at  Covent 
Garden,  1892,  and  New  York,  1894; 
"  La  Mort  de  Jeanne  d'Arc,"  cantata 
for  solo,  soprano  chorus,  and  orches- 
tra ;  "  Le  Baiser  de  Suzon,"  comic 
opera  in  one  act,  Paris  Opfira  Comique, 
1888.  B.  Buenos  Ayres,  Mar.  29,  1861 ; 
pupil  of  Dubois  and  Massenet  at  Paris 
Conservatoire;    add.  Paris. 

Bemetzrieder  wrote  useful  "  Legons 
de  clavecin,"  Paris,  1771,  and  other 
musical  works.  B.  Alsace,  1743;  d. 
London,  1817. 

Bemol.    Fr.    Flat. 

Ben.  It.  "  Well,"  as  sostenuto, 
well  sustained. 

Benda  (Hans  Georg)  founded  a 
well  known  family  of  musicians;  was 
an  itinerant  musician  and  weaver, 
finally  settled  in  Alt-Benatky,  Bo- 
hemia. Franz  published  music  for  vio- 
lin and  became  conoertmeister  to  Fred- 
erick the  Great;  founded  a  violin 
school.  B.  Alt-Benatky,  Nov.  25,  1709 ; 
son  of  HANS  GEORG.  Johann  played 
in  Berlin  royal  band,  became  court  mu- 
sician. B.  1713;  son  of  HANS  GEORG; 
d.  Berlin,  1752.  Georg  wrote  "Ari- 
adne auf  Naxos,"  considered  to  be  the 
first  melodrama,  "Medea,"  a  second 
melodrama,  composed  "Romeo  und 
Julie,"  1778,  and  other  operettas, 
masses,  cantatas,  symphonies;  played 
clavier  and  oboe ;  chapelmaster  to  the 
Duke  of  Gotha.  B.  June  30,  1722 ;  son 
of  HANS  GEORG;  d.  Kostritz,  Thu- 
ringia,  Nov.  6,  1795.  Joseph  became 
concertmeister  to  Friedrich  Wilhelm 
II  of  Prussia.  B.  Mar.  7,  1724;  son 
of  HANS  GEORG;  d.  1804.  Anna 
Franziska  was  prominent  as  a  singer ; 
m.  Hattasch,  a  Gotha  musician.  B. 
1726;  daughter  of  HANS  GEORG;  d. 
Gotha,  1780.  The  most  distinguished 
of  the  third  generation  was  Friedrich 
Wilhelm  Heinrloh  who  composed 
the  operas  "  Das  Blumenmadchen," 
"  Orpheus,"  "  L'Isola  disabitata,"  can- 
tatas, oratorios,  and  chamber  music; 
played  violin  in  Perlin  court  band.    B. 


BENSELEB 


60 


BENEVOLI 


July  15,  1745;  son  of  FRANZ;  d.  Pots- 
dam, July  19,  1814.  Carl  Herman 
Heinrich.  wrote  for,  played  violin,  and 
taught  that  instrument  to  Wilhelm 
III.  He  is  said  to  have  nearly  equalled 
his  father  FRANZ  as  a  performer.  B. 
1748.  Maria  Caroline,  second  daugh- 
ter of  Franz,  m.  Chapelmaster  Wolf. 
Juliane,  fourth  daughter  of  Franz,  m. 
Chapelmaster  Reichardt.  Friedrich 
Ludwi^  composed  "  Der  Barbier  von 
Sevilla,"  1779,  and  other  comic  operas, 
cantatas,  an  oratorio  and  violin  mu- 
sic; became  director  of  concerts  at 
Konigsburg;  m.  Felicita  Agnesia  Rietz, 
the  singer.  B.  Gotha,  1746;  son  of 
GEORG;  d.  Mar.  27,  1792.  Ernst 
Friedrioh.  helped  found  Berlin  ama- 
teur concerts.  B.  Berlin,  1747 ;  son  of 
JOSEPH;    d.  1785. 

Bendeler  (Johann  Philipp)  vfiote 
on  theory;  cantor  at  Quedlinburg. 
B.  about  1660,  Riethnordhausen,  near 
Erfurt;    d.  1708. 

Bendl  (Karel)  composed  the  operas 
"  Lejla,"  "  Bretislav  a  Jitka,"  "  Stary 
zenich,"  "  Indicka  Princezna,"  "  Cer- 
nohorci,"  "  Carovny  Kvet,"  "Gina," 
"Karel  Skreta,"  "  Dite  Tabora," 
"  Matki  Mila,"  choruses,  a  Mass  in  D 
minor  for  male  voices,  chamber  music, 
conducted  concerts  of  the  Prague 
choral  society  HIahol.  B.  Prague, 
April  16,   1838;    d.  Sept.  20,   1897. 

Bendler  or  Bendeler  (Salomon) 
sang  bass  in  opera;  noted  for  pov?er 
of  his  voice.  B.  Quedlingburg,  1683; 
son  of  JOHANN  PHILIPP  BENDE- 
LER;  d.  1724. 

Benedetti  sang  in  the  Italian  opera, 
London,  1720. 

Benedicite.  Canticle  which  may 
be  chanted  instead  of  the  Te  Deum  in 
the  morning  service  of  the  Anglican 
Church. 

Benedict  (Sir  Julius)  composed  the 
operas  "  The  Brides  of  Venice,"  "  The 
Crusaders,"  the  oratorio  "  St.  Cecilia," 
the  cantata  "  Richard  Coeur  de  Lion  " ; 
conducted  English  music  festivals  of 
the  first  importance;  toured  the 
United  States  with  Jenny  Lind,  di- 
recting the  concerts ;  exercised  as  great 
an  influence  on  English  musical  de- 
velopment as  any  foreigner  settled 
there  since  Handel's  time.    A  native 


of  Stuttgart,  he  studied  with  J.  C.  L. 
Abeille,  then  with  Hummel  and  von 
Weber,  and  through  Weber's  influence 
was  appointed  conductor  at  the  Vienna 
Kamthnerthor  Theatre,  1823-25.  Then 
Barbaja  appointed  him  leader  of  the 
San  Carlos  orchestra,  Naples,  where 
his  first  opera,  "  Giacinta  ed  Ernesto," 
was  produced  in  1829.  The  following 
year  he  wrote  "  I  Portoghesi  in  Goa  " 
for  the  Stuttgart  opera.  1834  found 
him  in  Paris,  whence,  at  the  sugges- 
tion of  Malibran,  he  went  to  England, 
and  there  directed  the  Opera  Bufla  at 
the  Lyceum  Theatre,  London.  "Un 
Anno  ed  un  Giorno,"  first  produced  at 
Naples,  proved  a  success  in  London, 
and  the  English  operas  already  noted 
followed,  and  were  produced  at  Drury 
Lane,  where  Benedict  then  conducted. 
Returning  to  England  from  the  Amer- 
ican tour  he  conducted  at  the  princi- 
pal theatres,  the  Norwich  Festival, 
1845-78,  the  Liverpool  Philharmonic 
concerts,  1876-80,  the  Monday  Popu- 
lar concerts,  and  gave  an  annual  con- 
cert of  his  own  during  forty  years. 
Other  compositions  include  the  can- 
Uta  "Undine,"  "The  Lily  of  Kil- 
larney"  (on  the  subject  of  "Colleen 
Bawn"),  "The  Bride  of  Song,"  an 
operetta,  "  St  Peter,"  an  oratorio,  a 
symphony,  and  songs.  In  1871  he  was 
knighted,  and  received  many  foreign 
orders  on  his  70th  birthday.  B.  Nov. 
27,1804;    d.  London,  June  5,  1885. 

Benedictus.  A  portion  of  the 
MASS  following  the  Sanctus;  a  can- 
ticle in  the  morning  service,  of  the 
Anglican  Church  which  may  be  sung 
instead  of  the  Jubilate. 

Benelli  (Antonio  Pelegrino)  sang 
ten.  in  opera  32  years,  retiring  1822, 
wrote  a  vocal  "  Method  "  and  solfeggi, 
and  composed  church  music.  B.  Forli, 
Sept.  5,  1771 ;  d.  BSmichen,  Hartz, 
Aug.  16,  1830. 

Bene  Flacito.    /*.    At  pleasure. 

B  Quadro.  /*.  "Square  B"; 
natural. 

Benevoli  (Orazio)  composed  church 
music,  including  a  mass  for  12  choirs 
of  48  voices ;  chapelmaster  at  the  Vat- 
ican, Rome.  B.  Rome,  1602;  reputed 
son  of  Albert,  Duke  of  Lorraine;  d. 
June  17,  1672. 


BENINCORI 


61 


BENOIX 


Benincori  (Angelo  Maria)  com- 
posed the  successful  opera  "  Nitteti  " ; 
completed  Isouard's  unfinished  opera 
"  Aladin  " ;  composed  string  quartets 
modelled  on  those  of  Haydn,  whom  he 
knew  and  greatly  admired.  B.  Brescia, 
Mar.  28,  1779;   d.  Paris,  1822. 

Benini  (Signora)  sang  leading 
r61es  in  comic  opera  with  her  husband 
in  Naples,  1784,  London,  1787. 

Bennet  (John)  composed  many  of 
the  best  madrigals  in  English,  hymns, 
and  an  anthem  for  the  coronation  of 
James  I,  for  five  voices  and  instru- 
ments. His  first  book  of  madrigals 
"  to  Foure  Voyces "  was  printed  by 
William  Barley,  1599. 

Bennet  (Saunders)  composed 
songs,  glees;  organist  at  Woodstock, 
Eng. ;  d.  May  25,  1809. 

Bennett  (Alfred  William)  com- 
posed a  service  and  anthems;  collabo- 
rated with  William  Marshall  in  collec- 
tion of  chants ;  organist  to  University 
of  Oxford.  B.  1805;  son  of  THOMAS  j 
d.  Sept.  12,  1830. 

Bennett  (George  John)  composed 
Serenade  for  orchestra,  "  Jugend- 
traume " ;  Easter  hymn  for  soli 
chorus  and  orchestra;  Cymbeline 
overture ;  Orchestral  suite  in  D  minor ; 
Festival  Te  Deum  for  soli  'chorus  and 
orchestra;  Mass  in  F  flat  minor  for 
soli  chorus  and  orchestra;  conducted 
Lincoln  Music  Festivals;  founded 
Lincoln  Musical  Society  and  Lincoln 
Orchestral  Society;  organist  Lincoln 
Cathedral.  B.  May  5,  1863,  Andover, 
Eng.;  won  Balfe  scholarship,  Royal 
Academy  of  Music;  studied  in  Berlin 
and  Munich;    add.  Lincoln,  Eng. 

Bennett  (Joseph)  wrote  music  crit- 
icisms London  "  Daily  Telegraph  " ;  li- 
bretto for  Sullivan's  "  Golden  Legend  " 
and  other  standard  English  works; 
analyses  of  the  London  Philharmonic 
and  Monday  and  Saturday  Popular 
concerts;  in  early  life  was  precentor 
at  Weigh  House  Chapel  and  organist 
Westminster  Chapel.  B.  Berkeley, 
Gloucestershire,  Eng.,  Nov.  29,  1831; 
add.  London. 

Bennett  (Thomas)  published  "An 
Introduction  to  the  Art  of  Singing," 
"  Sacred  Melodies,"  "  Cathedral  Se- 
lections " ;     organist    Chichester    Ca- 


thedral. B.  Fonthin,  1784;  d.  Mar. 
21,  1848. 

Bennett  (William)  composed  organ 
and  piano  music,  anthems  and  songs; 
organist  St.  Andrew's  Church,  Ply- 
mouth, Eng.  B.  1767,  near  Teign- 
mouth;  pupil  of  Johann  Christian 
Bach,  d.  1830. 

Bennett  (Sir  William  Sterndale) 
composed  the  oratorio  "  Woman  of  Sa- 
maria " ;  music  to  the  "  Ajax "  of 
Sophocles;  a  symphony  in  G  minor; 
the  fantasie-overture  "  Paradise  and 
the  Peri " ;  many  anthems,  songs,  and 
piano  music;  founded  the  Bach  So- 
ciety, London,  1849;  conducted  Lon- 
don Philharmonic  concerts,  1856-66; 
became  principal  Royal  Acadamy  of 
Music  and  professor  of  music  Univer- 
sity of  Cambridge.  A  son  of  Robert 
Bennett,  organist  at  Sheffield,  and 
grandson  of  John  Bennett,  who  was  his 
first  teacher,  he  later  received  instruc- 
tion at  the  Royal  Academy  of  Music, 
and  played  his  piano  concerto  in  D 
minor  at  an  Academy  concert.  Mar.  30, 
1833,  when  17.  His  "  Naiades  "  over- 
ture three  years  later  caused  him  to 
be  sent  to  Leipsio  by  the  Broadwoods. 
There  he  was  under  the  influence  of 
Mendelssohn  and  Schumann  and  played 
at  the  Gewandhaus.  By  1841  he  was 
established  in  London  as  a  pianist. 
In  1844  he  married  Mary  Anne  Wood, 
daughter  of  an  English  naval  captain. 
In  1871  Bennett  was  knighted,  and  two 
years  later  a  public  testimonial  was 
given  him,  and  a  scholarship  was 
founded  in  his  honour  at  the  Royal 
Academy.  B.  Sheffield,  April  13,  1816; 
d.  London,  Feb.  1,  1875. 

Benoist  (Frangois)  composed  the 
operas  "  Lgonore  et  F6lix,"  "  L' Appa- 
rition," ballets,  organ  pieces;  won 
prlx  de  Rome  with  "Oenone,"  1815; 
taught  organ  in  Paris  Conservatoire. 
B.  Sept.  10,  1794;    d.  April,  1878. 

Benoit  (Camille)  composed  "  Clfio- 
patre";  the  symbolic  poem  "Merlin"; 
suite  for  the  "  Noces  Corinthiennes  " ; 
wrote  "  Musiciens,  pofites  et  philo- 
sophes  " ;  "  Souvenirs  " ;  studied  with 
Cesar  Franck;  appointed  conserva- 
teur  du  Louvre,  1895;    add.  Paris. 

Benoit  (Pierre  Leopold  Leonard) 
founded  the  Flemish  School  of  Music, 


BEWUCCI 


62 


BENVENUTO 


1861,  imder  auspices  of  the  city  of 
Antwerp  and  of  the  Belgian  national 
government;  composed  the  oratorio 
"  Lucifer,"  and  "  Le  Roi  des  Aulnes," 
an  opera  accepted  by  the  Paris  Theatre 
Lyrique,  but  not  performed ;  "  Chil- 
dren's Cantata,"  etc.  He  studied  at 
the  Brussels  Conservatory;  vi^on  first 
prize  with  "  Le  Meurtre  d'Abel,"  1857 ; 
composed  the  successful  opera  "  Le  Vil- 
lage dans  les  Montagues  " ;  conducted 
for  a  time  at  the  Bouffes  Parisiens; 
returned  to  Antwerp  and,  after  pro- 
ducing four  religious  works,  "  Cantate 
de  Noel,"  "Messe  Solennelle,"  "  Te 
Deum,"  and  "  Requiem,"  began  the 
propaganda  for  a  new  Flemish  school 
in  music  which  eventually  exerted  a 
most  favourable  influence,  but  pre- 
vented his  own  larger  compositions 
from  becoming  known,  as  he  consist- 
ently scored  Flemish  texts.  His  com- 
positions include,  besides  those  already 
mentioned :  "  Het  dorp  in't  gebergte," 
"Ita,"  and  "Pompeja,"  operas;  "  De 
Schelde,"  oratorio ;  "  Drama  Christi," 
"  La  Lys,"  cantatas ;  "  De  Maaiers," 
choral  symphony;  "Charlotte  Corday" 
and  "  Willem  de  Zwijger,"  music  for 
Flemish  plays ;  "  Reubens-cantata," 
"  Antwerpen,"  "  Joncfrou  Kathelijne," 
alto  scena;  "Hucbald,"  cantata;  "Tri- 
omfmarsch,"  for  opening  of  the  Brus- 
sels Exposition ;  "  De  Rhyn,"  grand 
cantata.  His  essays  in  support  of  the 
Flemish  movement  were  numerous.  B. 
Harlebeke,  West  Flanders,  Aug.  17, 
1834;    d.  Mar.  8,  1901,  Antwerp. 

Benucci  sang  bass  buffo,  1783-88. 

Benvenuto  Cellini.  Hector  Ber- 
lioz's opera  in  three  acts,  to  book  by 
Wailly  and  Barbier,  was  first  per- 
formed at  the  Academic,  Paris,  Sept. 
3,  1838,  where  it  failed,  but  has  since 
assumed  an  important  place  in  modern 
repertoire.  The  action  is  laid  in  Rome, 
1532,  when  Clement  VII  was  Pope. 
Benvenuto  Cellini  loves  Teresa,  daugh- 
ter of  the  papal  treasurer  Balducci, 
but  has  a  rival  in  Fieramosca,  the 
papal  sculptor,  who  is  favoured  by 
Balducci.  Cellini  and  Teresa  plan  an 
elopement,  at  which  the  Capuchin 
Ascanio,  Cellini's  pupil,  is  to  assist; 
but  their  plans  are  overheard  by  Fie- 
ramosca.   Just  then  Balducci  returns, 


and  Teresa  tells  him  there  is  a  thief 
hidden  in  the  house,  in  order  to  ex- 
plain why  she  is  up  so  late.  Balducci 
finds  Fieramosca's  hiding  place.  Cel- 
lini escapes  while  Balducci,  the  ser- 
vants, and  the  neighbours  are  beating 
the  supposed  thief,  who  finally  jumps 
through  the  window.  The  second  act 
discloses  Cellini  with  his  pupils  and 
friends  in  a  tavern,  where  he  is  unable 
to  pay  the  score  until  Ascanio  brings 
him  a  purse  from  the  Pope,  to  be  given 
him  on  condition  that  he  immediately 
finish  his  statue  of  Perseus.  Dis- 
pleased at  the  size  of  the  purse,  Cel- 
lini and  his  friends  resolve  to  imper- 
sonate the  treasurer  Balducci  at  the 
theatre  and  bring  him  into  ridicule. 
Fieramosca,  who  has  again  managed  to 
overhear  the  conversation,  plans  with 
Pompeo  to  adopt  costumes  similar  to 
those  Cellini  and  Ascanio  are  to  wear 
at  the  rendezvous  with  Teresa,  hoping 
to  forestall  Cellini.  The  scene  which 
follows  shows  the  theatre.  King  Midas 
is  being  enacted.  Balducci,  who  is  in 
the  audience  with  Teresa,  is  enraged  at 
the  likeness  King  Midas  bears  him, 
and  raises  a  disturbance,  in  the  course 
of  which  both  Cellini  and  Fieramosca, 
disgfuised  alike  as  monks,  approach 
Teresa.  A  fight  ensues,  Cellini  staba 
Pompeo,  Teresa  and  Ascanio  manage  to 
break  through  the  crowd  and  escape  to 
Cellini's  studio,  but  Cellini  himself  ia 
in  danger  of  being  maltreated  by  a 
mob.  Just  then  cannon  are  fired,  an- 
nouncing the  carnival  is  over;  the 
lights  are  suddenly  extinguished,  and 
Cellini  rushes  out  under  cover  of  the 
darkness.  In  the  third  act,  Teresa  and 
Ascanio  are  in  Cellini's  studio,  greatly 
distressed.  Cellini  enters,  explains  his 
escape,  but  as  he  and  Teresa  are  about 
to  leave  for  Florence,  Balducci  and 
Fieramosca  appear  to  claim  Teresa  as 
the  latter's  promised  bride.  Cardinal 
Salviati  comes  in  to  see  the  statue  of 
Perseus,  and  when  he  hears  of  Cellini's 
escapade,  threatens  to  have  him  pun- 
ished, and  to  have  some  one  else  com- 
plete the  statue.  Cellini,  surrounded 
by  his  workmen,  and  armed  with  a 
hammer,  is  ready  to  demolish  the  Per- 
seus, which  he  declares  he  can  complete 
in  an  hour.     Unwilling  to  lose  the 


BEBBIGXJIBB 


63 


BERLIN 


masterpiece,  the  Cardinal  promises  if 
he  will  do  so  he  shall  be  pardoned  and 
receive  Teresa  as  his  bride.  Work  in- 
stantly begins.  Running  short  of 
metal,  Cellini  sacrifices  his  creations 
in  gold  and  silver.  At  last  the  mould 
is  broken,  the  statue  of  Perseus  is 
revealed  in  all  its  glory,  and  in  the 
enthusiasm  it  creates  Fieramosca  is 
the  first  to  embrace  his  erstwhile  rival, 
whose  genius  he  appreciates  better 
than  the  rest. 

Berbiguier  (Benoit  Tranquille) 
composed  many  works  for  fiute,  on 
which  he  was  a  performer  of  great 
skill;  studied  at  Paris  Conservatoire. 
B.  Caderousee,  Vaucluse,  Dec.  21, 1782; 
d.  Jan.  20,  Pont  le  Voy6. 

Berceuse.    Fr.    Cradle  song. 

Berchem  (Jachet)  composed  three 
books  of  capriccios  and  madrigals,  a 
mass,  etc.;  organist  to  Duke  of  Fer- 
rara  in  1555 ;  probably  b.  in  Flanders. 

Berenstadt  (Gaetan)  sang  bass  in 
opera,  1717  to  1723. 

Berg  (Adam)  published  music  in 
Munich  under  patronage  of  Dukes  of 
Bavaria  from  1540  to  1599. 

Berg  (George)  composed  prize  glee 
"  On  softest  beds  at  leisure  laid " ; 
many  works  for  voice  and  instrument ; 
organist  St.  Mary-at-Hill,  London, 
1771;  pupil  of  Dr.  Pepusch.  B. 
Germany. 

Berg  (Johann)  founded  music 
printing  house  in  Nuremberg  about 
1531;  was  succeeded  by  Ulrich  Neu- 
ber  and  Gerlach.  B.  Ghent;  d.  1563, 
Nuremberg. 

Bergamasca  or  Bergomask.  A 
lively  country  dance  of  Bergamo  in 
triple  time. 

Berger  (Ludwig)  composed  27 
etudes  for  piano,  on  which  he  was  a 
distinguished  performer;  taught  Men- 
delssohn, Henselt,  Fanny  Hensel,  Tau- 
bert;  pupil  of  Clementi.  B.  Berlin, 
April  18,  1777;  d.  Berlin,  Feb.  16, 
1839. 

Berger  (Wllhelm)  composed  sym- 
phony in  B  flat;  "Euphorion,"  a  choral 
piece ;  "  Meine  GSttin  "  for  male  choir 
and  orchestra,  and  chamber  music; 
taught  piano;  pupil  of  Kiel  at  Berlin 
Hochsehule.  B.  Boston,  Mass.,  Aug.  9, 
1861;    add.  Berlin. 


Berggreen  (Andreas  Peter)  com- 
posed the  opera  "  Billidet  og  Busten," 
national  songs,  played  organ  Trinity 
Church,  Copenhagen;  did  much  to 
popularize  music  in  Denmark;  wrote 
on  musical  topics.  B.  Copenhagen, 
Mar.  2,  1801;    d.  Nov.  9,  1880. 

Bergmauu  (Carl)  conducted  Bos- 
ton Handel  and  Haydn  Society,  1852- 
54;  New  York  Arion,  and  from  1855 
to  1876,  New  York  Philharmonic  So- 
ciety; was  among  the  first  to  per- 
form music  of  Liszt  and  Wagner  in 
America;  joined  Germania  Orchestra 
as  'cellist,  1850,  and  became  its 
leader.  B.  Ebersbach,  Saxony,  1821; 
d.  Aug.  16,  1876. 

Bergonzi  (Carlo)  made  violins  in 
imitation  of  Antonio  Stradivari,  whose 
pupil  he  was.  His  instruments  are 
dated  1716  to  1755.  Work  of  his  son 
Michael  Angelo  is  not  highly  valued. 

Beringer  (Oscar)  founded  a  piano 
school  in  London,  1873-97;  taught 
in  Royal  Academy  of  Music;  com- 
posed Andante  and  Allegro  for  piano 
and  orchestra,  etc. ;  played  piano  in , 
concerts  and  recitals.  B.  Furt- 
wangen,  Baden,  July  14,  1844;  add. 
London. 

Beriot,  de  (Charles  August) 
founded  the  Franco-Belgian  school  of 
violin  playing;  composed  seven  con- 
certos and  other  music  for  his  instru- 
ment ;  wrote  "  Ecole  transcendentale 
de  Violon"  and  "Grand  Methode"; 
taught  Vieuxtemps;  first  appeared  in 
concert  at  nine.  B.  Louvain,  Belgiimi, 
Feb.  20,  1802;  studied  with  Viotti 
and  Baillot  at  Paris;  m.  MARIA 
MALIBRAN,  1836;  declined  violin 
professorship  at  Paris  Conservatoire, 
but  accepted  similar  post  at  Brussels, 
1843;  retired  because  of  failing  eye- 
sight, 1852;  d.  Louvain,  April  8, 
1870. 

Berlin  owed  its  importance  in  music 
as  in  everything  to  the  genius  of 
Frederick  the  Great.  Besides  the  two 
principal  schools  discussed  in  the  arti- 
cles following  this,  it  was  the  seat  of 
the  Royal  Academy  of  Fine  Arts,  a 
section  of  which  was  devoted  to  music, 
and  possessed  splendid  opera  houses 
liberally  subsidized  by  the  German 
Emperor  and  King  of  Prussia,  who 


BEBLIIT 


64 


BERLIN 


was  conspicuously  active  in  their  man- 
agement. There  were  numerous  other 
institutions  of  which  the  SING— 
AKADEMIE  was  the  most  notable, 
and  there  were  a  number  of  choral 
and  orchestral  concerts  throughout  the 
season.  Konigliclien  Akademis- 
chen  Hochschiile  fiir  Musik  was 
founded  in  connection  with  the  KSnig- 
liehen  Akademie  der  Kunste,  and  as 
its  name  implies,  is  an  academical 
high  school  for  music,  teaching  the 
art  and  its  practice  in  all  branches. 
For  many  years  the  late  Dr.  Joseph 
Joachim  presided  over  its  violin  and 
orchestral  departments,  and  was  the 
director  and  president  of  the  board. 
Dr.  Max  Bruch  was  closely  associated 
with  Dr.  Joachim  as  the  head  of  the 
faculty  in  composition  and  theory, 
Prof.  Ernest  Rudorff  was  head  of  the 
piano  and  organ  departments,  and 
Prof.  Adolph  Schulze  of  the  vocal  de- 
partment. Other  members  of  the  fac- 
ulty in  1908  were :  Prof.  Benno  Hartel, 
theory  and  composition;  Prof.  Franz 
Schulz,  organ;  Paul  Juon  and  Prof. 
Leopold  C.  Wolf,  theory,  composition 
and  pa/rtitur  playing;  Prof.  Robert 
Kahn,  theory  and  ensemble  playing; 
Heinrich  van  Eyken,  theory;  Richard 
Rossler,  theory;  Leo  Schrattenholz, 
theory  and  composition;  Dr.  Karl 
Krebs,  history  of  music;  Prof.  Gustav 
Rossberg,  military  music;  Musik- 
direktor  Theodor  Grawert,  military 
music;  Prof.  Felix  Schmidt,  Prof. 
Max  Stange,  Paul  Knupfer,  Prof. 
Elise  Breiderhoff,  Emilie  Herzog, 
Helene  Jordan,  Meta  Lippold,  vocal; 
Prof.  Elise  Bartels,  declamation;  Marie 
Gagliardi,  Italian;  Richard  Rossler, 
chorus  singing;  Ernest.  Braunsweig, 
dramatic  action;  Jacob  Katzenstein, 
M.D.,  physiology  of  the  voice  and 
hygiene  of  song;  Prof.  Emmanuel 
Wirth,  Prof.  Cark  Halir,  Prof.  An- 
dreas Moser,  Prof.  Karl  Markees, 
Gabriele  Wietrowetz,  Karl  Klingler 
and  Gustav  Exner,  violin;  Prof. 
Robert  Hausmann,  Leo  Schrattenholz, 
'cello;  Wilhelm  Posse,  harp;  Maxi- 
milian Skibicki,  douhlebass;  Emil 
Prill,  flute;  Georg  Eberhardt,  oboe, 
oboe  d'amore,  English  Iwrn;  Prof. 
Oscar     Schubert,     clarinet;      Arnold 


Friihauf,  bassoon;  Hugo  Rudel,  hon^ 
Carl  HShne,  trumpet;  Paul  Weschke, 
trombone;  Prof.  Heinrich  Earth, 
pia/no;  Prof.  Johannes  Schulze,  piano 
and  ensemble  ploAjing;  Ernest  voa 
Dohnanzi,  Prof.  Karl  Heymann,  Prof. 
Ludwig  Hirschberg,  Curt  BOrner, 
Charles  Bunte,  Walter  Holdenhauer, 
Adelgunde  Hanne,  Marie  Bender, 
piaaio.  Singakademie  was  founded 
by  Carl  Friedrich  Christian  FASCH, 
cembalist  to  Frederick  the  Great,  and 
after  his  death,  a  teacher  in  Berlin. 
At  first  an  organization  of  Fasch's 
pupils  devoted  to  the  study  of  his 
own  sacred  music,  regular  meetings 
were  held  on  Thursday  evenings  of 
each  week  in  the  season  from  May 
24,  1791.  Rooms  were  set  apart  for 
the  singers  in  the  Royal  Academy  of 
Fine  Arts,  and  in  1801  the  public  was 
first  admitted  on  the  occasion  of  an 
Easter  concert.  For  a  time  the  pro- 
ceeds were  devoted  to  charity,  but  in 
1827  the  organization  built  its  own 
home,  and  the  funds  received  there- 
after were  devoted  to  the  propaganda 
of  oratorio  and  other  sacred  music. 
Mendelssohn  directed  the  Matthew 
Passion  of  Bach  in  1829.  Faseh  had 
been  succeeded  by  his  pupil  Carl  Fried- 
rich  Zelter.  Carl  Friedrich  Rungen- 
hagen  was  director  from  1832  to  1851, 
then  August  Grell,  who  held  office 
until  1879,  and  was  followed  by  Mar- 
tin BLUMNER.  Stern'sclies  Konser- 
vatorium  der  Musik  was  founded  in 
1850,  having  quarters  in  the  "Philhar- 
monie."  In  1907-08  there  were  1177 
pupils  and  a  teaching  staff  of  108, 
headed  by  Prof.  Gustav  Hollaender. 
The  teachers  of  finishing  classes  were: 
Singing,  Eugen  Brieger,  Marg.  Brieger- 
Palm,  Dr.  Paul  Bruns-Molar,  Blanche 
Corelli,  Lydia  Hollm,  Sergei  Kliban- 
sky,  Karl' Meyer,  Prof.  Selma  Nicklass- 
Kempner,  Henry  B.  Pasmore,  Nicolaus 
Rothmuhl,  Adolf  Schulze,  Wladislaw 
Seidemann;  Piano,  Georg  Bertram, 
Theodor  Bohlmann,  Severin  Eisen- 
berger,  Gunther  Freudenberg,  Bruno 
Gortatowski,  Bruno  Hinze-Reinhold, 
Ernst  Hoffzimmer,  Emma  Koch,  Prof. 
Martin  Krause,  Prof.  James  Kwast, 
Frieda  Kwast  Hodapp,  Dr.  Paul  Lut- 
zenko.  Prof.  G.  A.  Papendick,  Gustav 


BERLIOZ 


65 


BEKLIOZ 


Pohl,  Prof.  Philipp  Ruefer,  Theodor 
SohSnberger,  Prof.  Alfred  Sormann, 
August  Spanuth,  Prof.  E.  E.  Taubert, 
T.  W.  Otto  Voas,  Michael  von  Zadora ; 
Violin,  Prof.  Gustav  Hollaender, 
Theodore  Spiering,  Alfred  Wittenberg, 
Willy  Nicking,  Walter  Kampelmann, 
Max  Griinberg,  William  Kritch,  FrSu- 
lein  Clara  Schwartz;  Viola,  Walter 
Rampelmann ;  'Cello,  Joseph  Malkin, 
Eugen  Sandow,  Erich  Hollaender; 
Duohlebass,  Herr  K^mmling;  Organ, 
Bernhard  Irgang;  Harmonium,  Carl 
Kaempf;  ffarp,  Franz  Poenitz;  Hwrp 
chromatic,  Cantelon;  Flute,  Otto 
Roessler;  Oboe,  F.  Bundfuss;  Clari- 
net, Carl  Rausch;  Bassoon,  Herr 
Koehler;  Horn,  Adolf  Littmann; 
Trumpet,  Herr  Koenigaberg;  Con- 
ducting, Prof.  Arno  Kleffel;  Composi- 
tion, Score  playing,  Instrumentation, 
Wilhelm  Klatte,  Prof.  Arno  Klef- 
fel, Prof.  Philipp  Ruefer,  Prof.  E.  E. 
Taubert,  Leo  Portnofif,  Arthur  Win- 
ner; Harmony,  Counterpoint,  Canan 
and  Fugue,  Wilhelm  Klatte,  Arthur 
Willner;  Theory,  Harmony  in  Eng- 
lish, William  Kritch ;  Theory,  Har- 
mony in  Russian,  Leo  Portnoff;  Nico- 
laus  Rothmuhl,  Leader  of  the  opera- 
school;  Dramatic  School,  Prof.  Leo 
Friedrich;  Arthur  Wilhner,  Director 
of  administration. 

Berlioz  (Hector)  developed  the  re- 
sources of  the  orchestra  so  largely  as 
to  deserve  the  title  "  Father  of  modem 
orchestration";  was  first  to  employ 
large  masses  of  musicians  and  singers 
in  the  production  of  big  tonal  effects; 
prepared  the  way  for  the  so-called 
"  Music  of  the  Future  "  by  elaborating 
and  exemplifying  in  his  own  operas 
the  theories  of  his  favourite  master, 
Gluck,  regarding  the  relation  of  music 
and  the  drama;  composed  the  operas 
"BENVENUTO  CELLINI,"  "La 
DAMNATION  DE  FAUST,"  the  sym- 
phony "  Harold  en  Italic,"  which  have 
finally  ranked  him  with  the  greatest 
of  French  composers,  but  failed  to 
secure  recognition  in  France  during  his 
life,  save  as  a  writer  of  music  criti- 
cism and  "  feuilletons."  The  son  of  a 
country  physician  of  La  C6te  St. 
Andrg,  Grenoble,  Berlioz  was  sent  to 
the  Paris  medical  school  to  qualify 


himself  for  his  father's  profession.  As 
a  boy  he  had  studied  Catel's  "  Har- 
mony," had  learned  to  play  the  flageo- 
let somewhat  badly,  the  guitar  toler- 
ably well,  and  had  found  delight  in 
Gluck's  "  Orfeo,"  but  was  unable  to 
obtain  a  systematic  musical  training. 
He  detested  medicine,  loved  music,  and 
neglected  his  work  for  the  library  of 
the  Paris  Conservatoire.  Determined 
to  devote  his  life  to  music,  his  parents 
were  equally  determined  he  should 
commit  no  such  folly,  and  they  cut  off 
his  allowance.  But  in  1823  he  was  a 
student  at  the  Conservatoire,  and  there 
he  worked  during  seven  years,  always 
in  poverty,  rarely  on  good  terms  with 
his  teachers,  except  Lesueur,  support- 
ing himself  by  such  expedients  as  sing- 
ing in  a  theatre  chorus,  and  acquiring 
a  large  and  larger  contempt  of  the 
prevailing  style  in  music,  of  which  the 
director  of  ttie  Conservatoire,  Cheru- 
bini,  was  the  leader.  Before  entering 
the  Conservatoire  he  had  received  les- 
sons of  Lesueur  which  enabled  him  to 
compose  a  mass  for  St.  Roch's  Church, 
and  in  his  years  of  study  he  composed 
a  "  Fantasia  on  Shakespeare's  Tem- 
pest," "  Les  Francs-juges,"  and  "  Wav- 
erly"  overtures,  and  "Eight  Scenes 
from  Faust."  In  1830,  to  his  great 
surprise,  he  secured  the  prix  de  Rome 
with  the  cantata  "La  Mort  de  Sar- 
danapale."  In  Italy  he  sighed  for 
Paris,  and  after  an  18  months'  sojourn, 
the  ministry  permitted  him  to  return 
home.  "La  Captive,"  a  song,  a  re- 
vision of  his  "  Symphony  Fantastique  " 
and  sketches  of  the  "Corsair"  and 
"  King  Lear "  overtures  were  worked 
out  in  Italy,  but  brought  neither  fame 
nor  money  on  his  return.  In  1833  he 
married  the  Irish  actress  Henrietta 
Smithson,  who  had  been  playing  Shake- 
spearian rSles  at  the  OdSon,  and,  fail- 
ing to  earn  a  livelihood  in  music,  took 
to  journalism.  "Harold  in  Italie," 
"  Symphonie  Fun6bre  et  Triomphale," 
"Romeo  et  Juliette,"  his  requiem  on 
the  death  of  Napoleon,  and  "Benve- 
nuto  Cellini,"  his  opera,  were  all  pro- 
duced during  this  period  of  hack  work, 
from  which  he  was  released  _  bj  the 
princely  benevolence  of  Paganini,  who 
gave  him  20,000  francs.    Then  the  gov- 


BEKMUDO  66 

eminent  paid  him  4,000  francs  for  his 
"Eequiem,"  and  10,000  francs  for  his 
"  Symphonie  Fimfebre  et  Triomphale," 
in  1840.  He  was  thus  able  to  tour 
Germany,  a  project  which  his  wife 
bitterly  opposed,  and  which  brought 
about  their  separation,  but  proved  a 
complete  artistic  success,  for  Schu- 
mann and  Liszt  had  already  made 
some  of  his  works  known,  and  his 
genius  was  acknowledged  from  St. 
Petersburg  to  Ixmdon  while  still  un- 
known to  Parisians.  Home  again  in 
1843,  Paris  had  nothing  better  to 
offer  him  than  a  conductor's  post. 
Visits  to  Vienna,  to  St.  Petersburg, 
to  London  increased  his  reputation 
abroad,  and  at  the  Paris  Exposition 
of  1855  he  was  commissioned  to  write 
an  opening  "  Te  Deum  "  and  "  L'lmpfi- 
riale "  cantata  for  its  close.  These 
brought  him  the  Legion  of  Honor. 
Membership  in  the  Acad^mie  and  the 
librarianship  at  the  Conservatoire 
soon  followed.  On  the  death  of  his 
first  wife  Berlioz  had  married  a  singer. 
Mile.  Martin  Reeio.  Her  death  oc- 
curred in  1862,  leaving  him  quite  alone 
in  the  world,  for  his  son,  who  had 
occasioned  him  much  anxiety,  was  then 
in  the  navy.  The  following  year  "  Les 
Troyens,"  an  opera  which  he  regarded 
as  his  masterpiece,  proved  a  flat  fail- 
ure. Berlioz  composed  no  more.  He 
made  a  tour  of  Russia  in  1867,  but 
his  health  had  failed,  and  he  died  in 
Paris,  Mar.  8,  1879.  Those  who  wish 
to  understand  Berlioz  more  fully  will 
do  well  to  read  his  delightful  "  Soirees 
de  I'orchestra,"  his  letters,  and  hia 
"  Memoires,"  which  have  been  trans- 
lated into  English.  "X  travers  Chants" 
is  among  his  most  notable  critical 
works.  Important  compositions  be- 
sides those  named  are :  "  Le  Camaval 
Romain,"  overture ;  "  L'Enfance  du 
Christ,"  oratorio;  "Rob  Roy,"  over- 
ture. See  biography,  Adolphe  Julien, 
1888. 

Bermudo  (Juan)  wrote  "Libro  de 
la  declaracion  de  instrumentos,"  pub- 
lished at  Ossuna,  1555;  Spanish  monk; 
b.  near  Astoga,  1510. 

Bernabei  (Gloseffo  Antonio)  com- 
posed 16  operas,  masses,  etc. ;  chapel- 
master  at  Munich  in  succession  to  his 


BEBTINI 


father,    GIUSEPPE    ERCOLE.      B, 
1659,  Rome;    d.  Mar.  9,  1732. 

Bernabei  (Giuseppe  Ercole)  com- 
posed two  operas  and  church  music; 
chapelmaster  to  Elector  of  Bavaria. 
B.  Caprarola,  about  1620;  d.  Munich 
about  1688. 

Bernacclii  (Antonio)  sang  soprano 
in  opera  "  Clearte,"  London,  1717,  and 
with  continued  success  until  1730, 
when  he  founded  a  school  in  Italy, 
becoming  the  teacher  of  Raff,  Guar- 
ducci,  Mancini,  Amadori,  and  others; 
composed  vocal  music.  B.  Bologna, 
1690;   d.  Mar.  1756. 

Bernard  (fimile)  composed  the  can- 
tata "  Guillaume  le  Conqufirant,"  vio- 
lin concerto  for  Sarasate,  suites,  etc., 
and  other  works  for  organ,  piano,  and 
orchestra.  B.  Marseilles,  Aug.  6, 
1845;    d.  Sept.  11,  1902,  Paris. 

Bernasconi  (Andrea)  composed  21 
operas  and  much  church  music;  taught 
in  Munich  where  he  became  chapel- 
master. B.  Verona,  1712;  d.  Munich, 
1784. 

Bernasconi  (Antonia)  sang  sop. 
rSles  in  opera;  debut,  Vienna,  1764,  in 
"Alceste,"  written  for  her  by  Gluck; 
created  rSle  of  Aspasia  in  Mozart's 
"Mithridate";  stepdaughter  of  AN- 
DREA;  retired  1783. 

Berner  (Friedrich  Wilhelm)  wrote 
on  music;  composed,  taught;  played 
piano  and  clarinet  at  Breslau  while 
von  Weber  was  chapelmaster.  B.  Bres- 
lau, May  16,  1780;  son  of  organist 
of  the  Elizabeth  Church;  d.  lifiiy  6, 
1827. 

Bernhard  (Christoph.)  composed 
church  music,  sang  ten. ;  chapelmaster 
at  Dresden.  B.  Dantsic,  1627;  d. 
Nov.  14,  1692. 

Bernsdorf  (Eduard)  edited  "Uni- 
versal Lexicon  der  Tonkunst " ;  wrote 
music  criticism;  composed.  B.  Des- 
sau, Mar.  25,  1825. 

Berselli  (IKEatteo)  sang  ten.  in 
opera,  London,  1720-21. 

Bertin  (Louise  Angelique)  com- 
posed "La  Esmeralda,"  to  book  by 
Victor  Hugo,  "  Le  Loup  Garou,"  and 
"  Faust " ;  sang  con. ;  played  piano. 
B.  Roche,  near  Bi6rre,  Feb.  15,  1805; 
d.  April  26,  1877. 

Bertini  (Benoit  Auguste)  played 


BEBTINI  67  BESSEL 

piano,    studied    with    Clementi    and  1907,  because  of  grief  at  the  death  of 

trained   his   young   brother    HENRI;  his  wife  Fanny  Moran  Olden  in  the 

b.  London,  1780.     Their  father,  like-  Hook  of  Holland  disaster, 
wise  a  musician,  was  a  native  of  Tours,       Bertrand    (Jean   Gustave)    wrote 

France.     B.  1750.  critical    and    archeological    works    on 

Bertini  (Giuseppe)  wrote  "Storieo-  music.    B.  Vaugurard,  Dec.  24,  1834; 

critieo    degli    scrittori    di    musica " ;  add.  Paris. 

directed  music  at  the  Capella  Pala-       Berwald     (Franz)     composed    the 

tina,  Palermo;    b._  1756.  opera    "  Estrella    de    Soria";      sym- 

Bertini   (Henri)   played  piano  on  phonies,  chamber  music;    directed  the 

concert  tour  of  Holland  and  Germany  conservatory  at  Stockholm.     B.  July 

at  12;    composed  etudes,  50  of  which  23,      1796;       nephew      of     JOHANN 

were  republished  a  few  years  ago.     B.  FRIEDRICH;    d.  April  30,  1868. 
London,  Oct.  28,  1798;   d.  Meylan,  Oct.       Berwald  (Johann  Friedrich)  com- 

1,  1876.  posed   symphonies;     famous   as   child 

Bertinotti  (Teresa)  sang  with  sue-  musician  throughout  northern  Europe ; 

cess  in  opera;    debut  at  Naples  when  became  chapelmaster   to  the  king  of 

12  years  of  age;    m.  Felice  Radicati,  Sweden.    B.  Stockholm,  Dec.  4,  1787; 

violinist,  who  composed  "  Zaira "  for  d.  June  28,  1861. 
her;    retired  1823,  and  taught  at  Bo-        Bes.     Qer.    B  double  flat, 
logna.    B.  Savigliano,  Piedmont,  1776;        Besaiten.       Ger.      To     string    an 

d.  Bologna,  Feb.  12,  1854.  instrument. 

Bertolli     (Erancesca)     sang     con.        Besekirsby    (Vasil    Vasilievich) 

roles  in  London  with  Handel,  1729-37.  played  violin  and  taught.    B.  Moscow, 

Berton    (Pierre    Slontan)   became  1836;   pupil  of  Leonard, 
leader  of  the  Op6ra  orchestra,  Paris,       Besler  (Samuel)  composed  church 

during  the  quarrels  of  the  Gluckists  music,  became  rector  of  gymnasium  of 

and  Piccinists,  whom  he  is  said  to  have  Breslau.    B.  Brieg,  Silesia,  Dec,  1574; 

finally  reconciled.     B.  1727;    d.  1780.  d.  July  19,  1625. 

Henri  IVEontan  composed  "  Montano       Besozzi     (Alessandro)     published 

et    Stephanie,"    romantic    opera    pro-  sonatas  for  violin  and  flute;     played 

duced    with    great    success    in    Paris,  oboe;    eldest  of  a  remarkable  family 

1798;  "  Ponce  de  Leon,"  "  Le  Delire,"  of   musicians.      B.   Parma,    1700;     d. 

"Aline,"   "Ninon  chez  Mme.   de   Se-  Turin,  1775.    Antonio,  succeeded  his 

vigne,"     and     other    operas;     taught  brother     ALESSANDRO     at    Parma, 

harmony  at  the  Conservatoire,  1795;  and  later  removed  to  Dresden;    was  a 

conducted  Paris  Italian  opera,   1807.  famous   oboe   player.     Carlo   became 

B.    Paris,    Sept.    17,    1767;     son    of  celebrated  as  oboe  player  in  Dresden 

PIERRE    MONTAN;     d.    April    22,  royal  band.    Son  of  ANTONIO.    Hier- 

1844.    Frangois  composed  operas  and  onimo  was  associated  with  his  brother 

taught    in    Conservatoire.      B.    1784;  ALESSANDRO     as    bassoon    player, 

son    of    HENRI    MONTAN    and    the  Gaetano  played  oboe  at  the  opera  and 

singer.  Mile.  MAILLARD;    d.   Paris,  at  the  Neapolitan  and  French  courts. 

1832.  B.   Parma,  youngest  brother  of  AL- 

Bertoni    (Ferdinando    Giuseppe)  LESSANDRO.      Hieronimo     played 

composed    33    operas    and    oratorios;  oboe  at  the  Paris  Concerts  Spirituel, 

conducted  music  at  St.  Mark's,  Venice,  having  been   a   pupil    of   his   father, 

B.  Salo,  near  Venice,  Aug.  15,  1725;  GAETANO;    d.  1785.    Henri  became 

d.  near  Brescia,  Dec.  1,  1813.  flautist  at  the  Op6ra  Comique,  son  of 

Bertram     (Theodore)     sang    bass  HIERONIMO.  Louis  DSsirge  won  the 

Wagnerian    rSles    with    distinguished  prix  de  Rome  at  the  Paris  Conserva- 

success,  his  "Wotan"  winning  high  toire,    1837;     b.   Versailles,   April    3, 

praise  from  Cosima  Wagner;    sang  in  1814;     son  of  HENRI;    d.  Nov.   11, 

many   American    cities    during   early  1879. 

manhood;  pupil  of  his  father.    B.Feb.       Bessel      (Vassily      Vassilievicli) 

12,    1869,   Stuttgart;     killed   himself,  founded  the  music  publishing  house 


BESSE]y[S                       68  BILLINGTOir 

of  Bessel  &  Co.,  St.  Petersburg,  1869;  Biber,     von     (Heinrich.     Johann 

b.  St.  Petersburg,  1843.  Franz)  composed  for  violin,  which  he 

Bessems   (Antoine)   composed  for  played  so  well  that  in  1681  Emperor 

voice  and  violin,  and  taught.,   B.  Ant-  Leopold   ennobled   him.     B.   Warten- 

werp,  April  6,  1809;    d.  Oct.  19,  1868.  bergen,   Bohemia,   Aug.   12,   1644;    d. 

Besson    (Gustave    Auguste)  May  3,  1704. 

greatly  improved  the  construction  of  Bibl    (Andreas)    composed    organ 

the  cornet,  and  improved  and  manu-  preludes  and  fugues;    became  organist 

factured   other    instruments   as   well,  at    St.    Stephen's    Cathedral,   Vienna. 

B.  Paris,  1820;   d.  1875.  B.  Vienna,   April   8,   1797;     d.    1878. 

Best    (William    Thomas)    wrote  Bibl   (Rudolph)   composed  and  played 

"  The  Modern  School  for  Organ,"  "  The  organ  St.  Stephen's  Cathedral,  Vienna; 

Art    of    Organ    Playing " ;     composed  chapelmaster  to  the  Emperor.    B.  Jan. 

church    music    and    played    organ    in  6,  1832;    add.  Vienna. 

Liverpool  churches.    B.  Carlisle,  Eng.,  Bichord.    Double  strings  to  a  note. 

Aug.  13,  1826;    d.  Liverpool,  May  10,  Bicinium.    Lat.    Obsolete  term  for 

1897.  two-part  song. 

Bestimmt.     Oer.    With  decision.  Bickh.am    (George,   Jr.)   engraved 

Betz  (Franz)  sang  Wagnerian  bar.  and  published  music  in  "  The  Musical 

reles.    B.  Mar.  19,  1835,  Mayence;    d.  Entertainer,"  London,  1736-39. 

Berlin,  Aug.  11,  1900.  Bierey    (Gottlob    Benedict)    com- 

Bevin  (Elway)  composed  church  posed  40  operas  of  which  those  in 
music.  Probably  born  in  Wales,  and  comic  vein  were  most  successful,  in- 
believed  to  have  been  organist  at  eluding  "  Wladimir,"  "  Das  Bluraen- 
Bristol  Cathedral,  1589.  madchen";     chapelmaster  at  Breslau 

Bevington    (Henry)    founded   the  in  succession  to  von  Weber.    B.  Dres- 

London  organ  building  firm  now  known  den,  July  25,  1772;    d.  May  5,  1840. 

as  Bevington  &  Sons,  about  1800,  hav-  Bifara.     Lat.     Tremolo  organ  stop, 

ing  learned  the  trade  with  Ohrmann  Bigot  (Marie)  played  piano  in  con- 

&  Nutt.     Henry  and  Martin,  his  sons,  certs;      taught    Mendelssohn;      knew 

were  the  heads  of  the  firm  in  1908.  Haydn,  Salieri,  Beethoven,  Cherubini, 

Bexfield  (William  Bicliard)  com-  Lamarre,   and  Baillot.     B.   Kiene  at 

posed  the  oratorio  "Israel  Restored";  Colmar,  Alsace,  Mar.  3,  1786;    m.  Mr. 

organist  of  St.  Helen's,  London;    de-  Bigot,    Count    Rasoumowsky's    libra- 

gree  of  Dr.  Cambridge,  1849.    B.  Nor-  rian;    d.  Paris,  Sept.  16,  1820. 

wich,  April  27,  1824;    d.  London,  Oct.  Bilhon,  de  (Jean)  composed  church 

28,  1853.  music,  which  was   published  between 

Beyer  (Ferdinand)   made  a  great  1534  and  1544  in  Leyden  and  Paris, 

number    of    easy    arrangements    and  Billington  (Mrs.  Elizabeth)  oom- 

transcriptions    for    Schott    &    Co.,    of  posed  two  sets  of  piano  sonatas  before 

Mayence.     B.  Querfort,  1803;    d.  May  she    was     11;      became    the    greatest 

14,  1863.  singer  of  her   day  to  the  neglect  of 

Bianca.     Michael  William   Balfe's  further  creative  work.     Daughter  of 

opera  in  four  aets,  to  words  by  Pal-  Carl  Weichsel,  an  oboist  at  the  King's 

grave  Simpson,  was  first  performed  Dec.  Theatre,  London,  her  mother  being  a 

6,  1860,  at  Covent  Garden,  London.  popular  singer.  Miss  Weichsel  and  her 

Bianchi   (Francesco)   composed  20  brother    appeared    at   their    mother's 

operas  and  oratorios,  including  "  Cas-  benefit   at   the    Haymarket,    in    1774, 

tore   e    Polluce,"    "  Inez    de    Castro,"  when    she    was    probably    six    years 

"  Antigone,"     "  Merope,"     "  Alzira " ;  old.      Her    debut    as    a    singer    took 

m.  Miss  Jackson,  well  known  as  singer  place  at  Oxford,  at  14,  and  in  1783 

under  the  name  Bianchi-Lacy;     cem-  she  m.  James  Billington,  a  doublebass 

balist    at    Paris    Italian    Opera;     2d  player.      Operas    were    composed   for 

organist   at   St.    Mark's,   Venice.      B.  her  by  Bianchi,  Paisiello,  Paer,  and 

Cremona,   1752;    killed  himself,  Lon-  Himmel,  and  she  was  received  enthu- 

don,  Nov.  27,  1810.  siastically   in  Naples  and  Venice  as 


BILIilNGTOlT 


69 


BISCHOFF 


well  as  London.  Billington  d.  1794, 
and  1799  she  m.  M.  Felissent.  Her 
voice  ranged  from  a  to  a " '-  Sir 
Joshua  Reynolds  painted  her  portrait 
as  St.  Cecilia,  and  Cosway  painted  her 
miniature.    D.  Venice,  1818. 

Billington  (Thomas)  composed, 
played  harp  and  piano.  B.  Exeter, 
1754;  brother-in-law  of  ELIZABETH; 
d.  Tunis,  1832. 

BimmoUe.  It.  B  flat;  the  nat- 
ural sign. 

Bina.  An  East  Indian  stringed  in- 
strument of  the  guitar  family,  the 
scale  consisting  of  a  series  of  small 
intervals  between  a  note  and  its  octave 
in  the  bass  staff. 

Binary  Form.  A  movement 
founded  on  two  themes  or  principal 
subjects. 

Binary  Measure.     Common  time. 

Bincliols  (Egidius)  composed 
church  music  and  secular  songs  of 
which  27  have  been  preserved;  chap- 
lain to  Duke  Philip  of  Burgundy.  B. 
Binche  near  Mons ;  hence  "  Gilles  de 
Binch";  d.  Lille,  1460. 

Bind.  The  curved  line  or  tie  which 
unites  two  notes  of  the  same  degree 
denoting  that  they  are  to  be  sounded 
as  one  note.  The  same  sign  connecting 
notes  of  different  degrees  becomes  the 
slur  or  legato  sign. 

Binde.     Ger.    Bind. 

Bindung.  Oer.  Syncopation  or 
suspension,  which  may  be  effected  by 
using  the  bind. 

Bini  (Pasqualino)  played  violin 
even  better  than  Tartini,  whose  pupil 
he  was;  composed  for  that  instru- 
ment. B.  Pesaro,  1720;  became  leader 
of  the  court  band  at  Stuttgart, 
1754. 

Bioni  (Antonio)  composed  "  Cli- 
m6ne,"  "Undine,"  "Endimione,"  and 
in  all  26  operas;  composer  to  the  Elec- 
tor of  Mayence.    B.  Venice,  1698. 

Birch.  (Charlotte  Ann)  sang  sop. 
in  concert  and  opera,  pupil  of  Sir 
George  Smart.  B.  1815;  d.  London, 
Jan.  26,  1901. 

Birch  (Eliza  Ann)  sang  sop. ;  pupil 
of  Sir  George  Smart ;  sister  of  CHAR- 
LOTTE ANN.  B.  1830;  d.  Mar.  26, 
1857. 

Birchall  (Kobert)  established  mu- 


sic publishing  house  in  London;  man- 
aged the  "  Ancient  Concerts " ;  d. 
1819.  Business  was  continued  by 
Birchall,  Lonsdale  &  Mills. 

Bird  (Arthur)  composed  symphony 
in  A,  three  orchestral  suites,  comic 
opera  "  Baphne " ;  ballet,  "  Rilbe- 
zahl";  serenade  for  wind  instruments 
which  won  the  Paderewski  prize  in 
New  York,  1901.  B.  Cambridge,  Mass., 
July  23,  1856;  settled  in  Berlin, 
1881. 

Bird  (Henry  Richard)  played  or- 
gan, gave  concerts,  taught,  became  ac- 
companist at  London  Popular  Concerts, 
1891.  B.  Nov.  14,  1842;  son  of  George 
Bird,  organist  at  Walthamstow 
church,  Eng. ;  became  organist  at  St. 
John's,  Walthamstow,  at  the  age  of 
eight ;  later  of  many  London  churches ; 
add.  London. 

Birmingham  Festival,  at  which 
many  important  works  have  had  their 
first  English  performance,  was  founded 
in  1768  in  aid  of  the  General  Hospital 
of  Birmingham;  has  since  grown  into 
a  triennial  festival  with  a  total  profit 
to  that  institution  of  more  than 
$500,000;  with  profit  to  England  in 
the  stimulation  of  musical  art  too 
great  for  monetary  calculation.  Capel 
Bond,  of  Coventry,  conducted  the  first 
festival,  which  was  exclusively  de- 
voted to  Handel.  Others  to  hold  this 
post  have  been  Dr.  Crotch,  Samuel 
Wesley,  T.  Greatorex,  W.  Knyvett, 
Mendelssohn,  Mosoheles,  Costa,  and 
Dr.  Richter.  Since  1855  the  local 
chorus  has  been  supplied  by  the 
Birmingham  Amateur  Harmonic 
Association. 

Bis.  L.  "  Twice,"  written  over  a 
group  of  notes  indicates  that  they  are 
to  be  repeated,  being  thus  equivalent 
to  dots  of  repetition;  also  used  in 
France  for  "  encore." 

Bischero.  It.  Peg  or  pin  to  fasten 
an  instrument's  strings. 

Bischoff  (Dr.  Ludwig  Friedrich 
Christian)  wrote  for  "  Kolnische  Zei- 
tung "  and  edited  musical  reviews ; 
founded  and  promoted  musical  soci- 
eties; aided  in  maintaining  the  festi- 
vals at  Cologne  and  other  musical 
centres.  B.  Dessau,  Nov.  27,  1794;  d. 
1867. 


BISCBOMA 


70 


BIZET 


BiscToma.    It.    Semiquaver. 
Biscrome.    Fr.     Semiquaver. 
Bisdiapason.     Double  octave. 
Bishop  (Ann)  sang  sop.  in  concerts 
in  all  parts  of  the  world ;   daughter  of 
Riviere,  a  London  singing  master;  m. 
Sir  Henry  Bishop,  1831 ;    eloped  with 
Bochsa,  the  harpist,  1839,  who  d.  1855  , 
in  Australia  while  on  concert  tour; 
m.    Schulz;     finally    settled    in    New 
York.    B.  London,  1814;   d.  New  York, 
Mar.  18,  1884. 

Bishop  (Sir  Henry  Rowley)  com- 
posed the  opera  "  Clari,"  1823,  which 
contains  "  Home,  Sweet  Home  " ;  "  The 
Fortunate  Isles "  in  celebration  of 
Queen  Victoria's  wedding;  "Maid 
Marian  "  and  many  other  operas ;  pop- 
ular songs ;  wrote  musical  number  for 
"  A  Midsummer  Night's  Dream  " ;  con- 
ducted at  Covent  Garden  and  London 
Philharmonic  concerts.  B.  London, 
Nov.  18,  1786;  pupil  of  Bianchi;  m. 
first  Miss  Lyon,  the  singer;  then 
ANN  BISHOP  (Riviere)  ;  knighted 
1842;  professor  at  Oxford,  1848;  con- 
ductor "Ancient  Concerts,"  1842;  d. 
April  30,  1855. 

Bishop  (James  C.)  founded  the 
English  organ  building  house  now 
known  as  Bishop  &  Son,  about  1800. 

Bishop  (John)  composed,  played 
organ  Winchester  Cathedral.  B.  Eng., 
1665;    d.  Winchester,  Dec.  19,  1737. 

Bishop  (John)  edited,  wrote,  and 
translated  many  works  on  theory  and 
history  of  music;  organist  of  St. 
Paul's,  Cheltenham,  Eng.,  at  14.  B. 
Cheltenham,  July  31,  1817;  d.  Feb.  3, 
1890. 

Bispham  (David  Scull)  sang  bar. 
r61es  in  opera  and  concert  with  dis- 
tinguished success,  debut  in  "Basoche" 
Royal  English  Opera  House,  Nov.  3, 
1891;  he  sang  such  rSles  as  "Kurne- 
wal,"  "Wolfram,"  "Telramund," 
"  Wotan,"  "  Alberich,"  "  Beckmesser," 
"Pizarro,"  "Escamillo,"  "  Falstaff," 
etc.,  at  Covent  Garden,  London,  and 
the  Metropolitan  Opera  House,  New 
York;  was  an  accomplished  actor, 
equally  admirable  in  serious  or  comic 
roles.  B.  Philadelphia,  Jan.  5,  1857; 
sang  in  oratorio  and  church  choirs; 
became  pupil  of  Vannuncini  and  Lam- 
perti,  Milan,  1886-89 ;  and  of  Herman 


Vezin,    London,    in    elocution.      Add. 
New  York. 

Bissex.  12-stringed  guitar  invented 
by  Vanhecke,  1770. 

Bis  Unca.    L.    Semiquaver. 
Bit.    Tube  supplementing  the  crook 
of  some  brass  instruments  for  tuning 
purposes. 

Bitter  (Karl  Hermann)  wrote  im- 
portant biographies  of  the  Bachs,  other 
books;  contributed  to  magazines; 
founded  the  Schleswig-Holstein  Fes- 
tival, 1875;  B.  Feb.  27,  1813;  d.  Ber- 
lin, Sept.  12,  1885. 

Bizzarro  or  Bizzarramente.  It. 
Fantastically,  drolly. 

Bizet  (Georges  Alexandre  Cesar 
Leopold)  composed  "  CARMEN,"  pro- 
duced Mar.  3,  1875,  at  the  Op6ra 
Comique,  Paris,  which  has  grown 
steadily  in  popularity  and  suffices  to 
rank  him  with  the  greatest  of  French 
composers;  a  suite  to  Daudet's  "L'Ar- 
Igsienne,"  and  several  books  of  songs. 
B.  Paris,  Oct.  28,  1838;  from  1848  to 
1857  Bizet  studied  at  the  Paris  Con- 
servatoire, harmony  with  Zimmer- 
mann,  and  composition  with  Halfivy, 
in  his  last  year  dividing  the  operetta 
prize  with  Lecocq  with  "  Docteur 
Miracle,"  gaining  the  prix  de  Rome 
in  1857.  The  opera  "  Don  Procopio," 
an  overture,  two  symphonic  move- 
ments and  the  comic  opera  "  La  guzla 
de  I'Emir"  were  composed  in  Rome. 
Returning  to  Paris  he  composed 
"Vasco  di  Gama,"  1863;  "Les  Pe- 
cheurs  de  Perles,"  1863;  "La  jolie 
fille  de  Perth,"  1867;  "DJAMILBH," 
1872 ;  and  collaborated  in  the  operetta 
"  Malbrough  s'en  va-t-en  guerre,"  1867, 
none  of  which  attained  success  during 
the  composer's  life.  In  1869  he  mar- 
ried Genevieve  Halfivy,  daughter  of  his 
old  master  in  composition,  and  he  com- 
pleted his  father-in-law's  opera  "  No6." 
An  overture  to  Sardou's  "Patrie"  first 
won  recognition,  but  the  real  worth  of 
the  man  failed  of  appreciation  until 
after  his  death,  for  he  only  sur- 
vived the  production  of  "  Carmen  "  by 
three  months.  The  orchestral  suites 
"  Roma,"  "  Jeux  d'enfants,"  and  some 
of  the  works  already  named  have  come 
into  vogue  since  Bizet's  death,  June  3, 
1875,  Bougival,  near  Paris.    Bizet  was 


BLACK 


71 


BLABAmBEBa 


especially  happy  in  his  treatment  of 
oriental_  themes,  and  there  has  been 
a  long  line  of  Carmens,  beginning  with 
Mme.  Galli-Marie,  who  created  the 
rSle,  including  Minnie  Hauck,  Marie 
Roze,  Trebelli,  Patti,  Lucca,  and  De 
Lussan,  and  culminating  in  Calv6, 
whose  sensuous  interpretation  of  the 
gypsy  r6le  is  not  likely  to  be 
■surpassed. 

Black  (Andrew)  sang  bar.  in  con- 
cert; taught  singing,  1893,  at  Royal 
College  of  Music,  Manchester,  Eng.  B. 
Glasgow,  Jan.  15,  1859;  pupil  of 
Randegger,  Welch,  and  Scarlatti; 
debut  July  30,  1887,  Crystal  Palace, 
London;    add.  Manchester,  Eng. 

Blaes  (Arnold  Joseph)  played 
clarinet  and  taught  in  the  Brussels 
Conservatory.  B.  Brussels,  Dec.  1, 
1814;  d.  Brussels,  Jan.  11,  1892. 
'  Blaes  (KCme.  Elisa)  sang  in  con- 
cert. B.Antwerp  (Meerti),  1820;  m. 
ARNOLD  JOSEPH,  taught  in 
Brussels. 


violin,  directed  music  at  the  Vari6t€s, 
Paris,  1818-29;  wrote  music  criti- 
cism, biographies.  B.  Bordeaux,  Feb. 
7,  1778 ;   d.  Paris,  Dec.  18,  1858. 

Blanche.     Fr.    Minim. 

Blanche  de  Nevers.  Michael 
William  Balfe's  five-act  opera  to  words 
by  John  Brougham,  founded  on  "  The 
Duke's  Motto,"  was  first  performed 
Nov.  21,  1863,  at  Covent  Garden, 
London. 

Blanche  Pointee.  Fr.  Dotted 
minim. 

Blancs  (Edward)  composed,  with 
nine  other  musicians,  "The  Whole 
Booke  of  Psalmes,"  etc.,  published  in 
London,  1592,  by  Thomas  Este. 

Bland  (John)  published  and  sold 
music  in  London,  1779-96;  succeeded 
by  Lewis,  Houston  and  Hyde. 

Bland  &  Weller.  Published  music 
in  London,  1790-1819;  succeeded  by 
Weller  &  Co. 

Bland  (ISCaria  Theresa)  sang  with 
Drury    Lane    company,    London,    40 


Blagrove  (Henry  Gamble)  played   years,  from  1786.  B.1769  (Romanzini 


violin  and  led  London  orchestras ;  gave 
chamber  concerts;  taught  Duke  of 
Cambridge.  B.  Nottingham,  Eng., 
1811;    d.  London,  Dec.  15,  1872. 

Blainville  (Charles  H.)  composed, 
wrote  on  music,  played  'cello.  B.  1711, 
near  Tours;   d.  Paris,  1769. 

Blake  (Bev.  Dr.  Edward)  com- 
posed the  anthem  "  I  have  set  God 
always  before  me,"  and  for  viola  and 
violin.  B.  Salisbury,  Eng.,  1708;  d. 
June  11,  1765. 

Blaketka  (3Carie  Zieopoldine)  com- 
posed "  Die  Raueber  und  die  Saenger," 
favourably  received  at  the  Klarthner- 
thor  Theatre,  Vienna,  1830;  a  concerto 
for  piano  and  orchestra;  piano  pupil 
of  Czemy,  Kalkbrenner,  Moscheles, 
and  Sechter.  B.  Nov.  15,  1811,  Baden, 
Austria;    d.  Boulogne,  Jan.  12,  1887. 

Blamont,  de  (Frangois  Collin) 
composed  a  "  Te  Deum,"  motets ;  many 
operas ;  the  «antata  "  Circe  " ;  chapel- 
master  to  the  king  of  France,  who  en- 
nobled him.  B.  Versailles,  1690,  son 
of  a  member  of  the  royal  band. 

Blanc  (Adolphe)  composed  operas ; 
pupil  of  Hal^vy.  B.  June  24,  1828, 
Manosque,  France. 

Blanchard  (Henri  Louis)  played 


of  Italian  Jewish  parents;  d.  Jan.  15, 
1838.  Charles  sang  ten.  in  opera. 
Son  of  MARIA  THERESA.  James 
sang  bass  at  Drury  Lane  and  Olympic 
theatres,  London.  B.  1798;  son  of 
MARIA  THERESA;   d.  July  17,  1861. 

Blangini  (Giuseppe  Marco  Maria 
Felice)  collaborated  in  "  La  Marquise 
de  Brinvilliers  "  and  composed  many 
operas;  sang  ten.;  numbered  among 
his  pupils  "three  queens,  12  princesses, 
25  countesses,  etc.";  chapelmaster  to 
the  king  of  Bavaria.  B.  Turin,  Nov. 
18,  1781;    d.  Dec.  18,  1841. 

Blankenburg  or  Blanckenburgh, 
van  (Gerbrandt  or  Gideon)  wrote 
"  Elementa  Musica "  and  historical 
books ;  composed  "  De  verdubbelde  har- 
mony," which  might  be  played  forward 
or  backward.  B.  Gouda,  1654;  played 
organ  there  and  at  The  Hague;  d. 
about  1739. 

Blaramberg  (Paul  Ivanovioh) 
composed  the  opera  "Mary  of  Bur- 
gundy," "The  Mummers,"  1881;  "The 
Roussalka  Maiden,''  1887;  "Tushino," 
1891 ;  a  symphonic  poem,  choral  pieces, 
music  to  the  play  "Voyevoda."  B. 
Orenburg,  Sept.  26,  1841;  add.  St. 
Petersburg. 


BLASBALG  '72 

Blasbal^.    Qer.    Organ  bellows. 

Blaslustrument.  Ger.  Wind 
instruments. 

Blasmusik.  Qer.  Music  for  wind 
instruments. 

Blatt.  Ger.  Reed  or  vibrating 
tongue. 

Blauvelt  (Lillian  Evans)  sang  sop. 
in  opera  and  concert;  operatic  debut 
in  Brussels  in  "Mireille,"  Sept.  12, 
1891 ;  Covent  Garden  in  "Faust,"  June 
2,  1903.  B.  Brooklyn,  New  York,  Mar. 
16,  1873,  played  violin  in  Steinway 
Hall,  New  York,  at  eight,  pupil  N.  Y. 
Conservatory  of  Music,  1885-89;  m. 
Royal  Smith,  the  organist;  studied  in 
Paris,  made  Russian  tour,  subse- 
quently toured  America;  divorced, 
went  to  Italy,  1898,  for  study,  sang 
in  Verdi's  "RBquiem"  in  Rome  and  for 
Queen  Margherita;  sang  in  Munich 
and  London;  m.  William  F.  Pendle- 
ton; sang  before  Queen  Victoria,  1899; 
at  the  Handel  festival,  1900,  toured 
America,  1901 ;    add.  New  York. 

Blauwaert  (Emil)  created  the  rSle 
of  "  Gumemanz  "  at  Bayreuth ;  sang 
bass,  cantate with  distinction  from  1865 
to  1890.  B.St.Nikolaas,  Belgium,  June 
13,  1845;    d.  Brussels,  Feb.  2,  1891. 

Blaze  (Frangois  Henri  iTosepli) 
wrote  two  volumes  "  De  I'opera  en 
France,"  1820;  translated  libretti; 
composed  and  collected  "  Chants  de 
Provence,"  etc. ;  signed  himself  "Castil- 
Blaze."  B.  Cavaillon,  France,  Dec.  1, 
1784;  son  of  an  excellent  amateur 
musician;    d.  Dec.  11,  1857. 

Blaze  de  Bury  (Baron  Henri) 
wrote  a  life  of  Rossini,  "  Meyerbeer 
and  his  times,"  libretto  of  "  La  jeu- 
nesse  de  Goethe  "  for  which  Meyerbeer 
composed  the  music.  Son  of  CASTIL- 
BLAZE  whom  he  excelled  as  a  writer, 
though  not  in  knowledge  of  music ;  en- 
nobled while  in  the  French  diplomatic 
service.  B.  Avignon,  May,  1813;  d. 
Mar.  15,  1888. 

Blechinstrumente.  Ger.  Brass 
instruments. 

Bleuer  (Ludwig)  conducted  De- 
troit Philharmonic  Club,  1894;  played 
violin,  led  Berlin  Philharmonic  Orches- 
tra. B.  Budapest,  1863;  d.  Berlin,  1897. 

Blewitt  (Jonas)  wrote  "A  com- 
plete treatise  on  the  organ,  with  ex- 


BliUHENBEBG 


planatory  voluntaries,"  composed  the 
operas  "  Corsair,"  "  The  Magician," 
"The  Island  of  Saints,"  "Rory 
O'More"  ballads;  played  organ;  con- 
ducted in  London  and  Dublin.  D. 
Sept.  4,  1853. 

Blind  Tom  was  the  stage  name  of 
Tom  WIGGINS. 

Blitbeman  (William)  composed 
for  organ,  virginal,  and  voice,  sang  in 
Eng.  Chapel  Royal,  16th  century. 

Blockx  (Jan)  composed  numerous 
Flemish  songs;  cantatas;  the  ballet 
"  Milenka,"  operas  including  "  Thiel 
Uylenspiegel,"  1900 ;  "  La  Fiancee  de 
la  Mer,"  1902;  "  Kapel,"  1903;  and 
the  cantata  "  Die  Soheldezang,"  per- 
formed in  the  open  air,  Antwerp,  Au- 
gust, 1903;  the  comic  opera  "Maltre 
Martin";  succeeded  Benolt,  1902,  as 
director  of  the  Antwerp  Conservatory. 
B.  Antwerp,  Jan.  25,  1851;  add.' 
Antwerp. 

Bloomfleld-Ze'lsler  (Eannie) 
played  piano  with  marked  success  at 
the  leading  orchestral  concerts  in 
Europe  and  America,  and  in  recital; 
debut  at  ten;  pupil  of  Ziehn,  of  Carl 
Wolfsohn  of  Chicago,  and  of  Lesohe- 
tizky  in  Vienna.  B.  Bielitz,  Austria; 
m.  Sigismund  Zeisler,  Chicago,  1885; 
add.  Chicago. 

Blow  (John)  composed  "Masque 
for  the  Entertainment  of  the  King" 
(Charles  II),  anthems  for  the  corona- 
tion of  James  II;  taught  Henry  Pur- 
cell  ;  Master  of  the  Children  ( of  whom 
he  had  been  one),  Eng.  Chapel  Royal; 
and  succeeded  Purcell  in  1695  as  or- 
ganist at  Westminster  Abbey.  B.  1648, 
North  Collingham,  Eng.;  d.  London, 
1708. 

Blueth.ner  (Julius  Ferdinand) 
founded  the  piano  house  bearing  his 
name  in  Leipsic,  Nov.  7,  1853.  B.  Mar. 
11,  1824,  Falkenhain,  near  Merseburg, 
Germany. 

Blumenberg  (IVIarc  A.)  edited  the 
"New  York  Musical  Courier"  from 
its  establishment,  1880;  was  presi- 
dent the  Blumenberg  Press  Corpora- 
tion; recognized  as  an  authority  on 
acoustics  and  musical  instruments. 
Educated  at  Loyola  College,  Balti- 
more, he  became  music  critic  on  the 
Baltimore  "American,"  but  later  joined 


BLTTMENTHAL 


73 


BOEEELMAN 


the  staflF  of  the  New  York  "Sun." 
B.  May  21,  1851,  Baltimore,  Md.; 
add.  New  York  City. 

Blumenthal  (Jacob)  composed 
"  The  Message "  and  other  songs ; 
pianist  to  Queen  Victoria,  1848 ;  pupil 
of  Herz  at  the  Paris  Conservatoire. 
B.  Hamburg,  Oct.  4,  1829. 

Blumner  (Dr.  ISXartin)  composed 
the  oratorios  "  Abraham,"  1860 ;  "  Der 
Fall  Jerusalems,"  1881 ;  the  cantata 
"  Columbus,"  1853,  a  Te  Deum,  etc. ; 
directed  Berlin  Singakademie ;  pupil 
of  S.  W.  Dehn.  B.  Nov.  21,  1827, 
Mecklenburg;    d.  Nov.  6,  1901,  Berlin. 

B  Moll.    Ger.    Flat  or  B  flat  minor. 

Bob.  Term  employed  in  bell  ring- 
ing to  indicate  certain  peals. 

Bocal.     Fr.     Mouthpiece. 

Bocca.    It.    Mouth. 

Boccabadati  (Luigia)  sang  opera 
buffa,  debut  Venice,  1823  to  1845.  B. 
Parma;    d.  Turin,  Oct.  12,  1850. 

Boccberini  (liuig^)  composed  467 
works  for  instruments,  his  chamber 
music  being  somewhat  in  the  style  of 
Haydn,  with  whom  he  is  assumed  to 
have  been  acquainted ;  a  Stabat  Mater, 
a  Mass,  the  opera  "  Clementina,"  two 
oratorios;  played  'cello;  enjoyed  the 
patronage  of  Charles  IV  of  Spain 
while  Prince  of  Asturias;  became 
composer  to  Friedrich  Wilhelm  II  of 
Prussia;  was  aided  by  Lucien  Bona- 
parte during  his  service  as  ambassador 
to  Madrid,  but,  despite  great  talent 
and  a  wonderful  facility  in  composi- 
tion, died  in  want.  B.  Lucca,  Feb.  19, 
1743;  d.  Madrid,  May  28,  1805.  See 
biography  by  D.  A.  Cerft,  1864;  by 
Schletternd,  Leipsio,  and  "  Notice  sur 
la  vie  et  ouvrages,"  etc.,  L.  Picquot, 
Paris,  1851. 

Boccblno.    It.    Mouthpiece. 

Bochsa  (Bobert  Nicholas 
Charles)  composed  the  opera  "  Tra- 
jan "  before  he  was  16,  and  eight  other 
operas;  became  harpist  to  Napoleon 
and  later  to  Louis  XVIII ;  fled  to  Lon- 
don to  escape  imprisonment  for  forgery 
in  France;  gave  concerts  with  Sir 
George  Smart;  taught  with  great  suc- 
cess; eloped  with  wife  of  Sir  Henry 
Bishop.  B.  Montmgdy,  Aug.  9,  1789; 
d.  Sydney,  Australia,  Jan.  6,  1856. 

Booklet,  -roil  (Carl  Maria)  played 


violin  and  piano,  and  first  brought  the 
piano  pieces  of  his  friend  Schubert  to 
public  notice.  B.  Prague,  1801;  d. 
July  15,  1881. 

Bockpfeife.     Ger.     "  Bagpipe. 

Bockshoru  (Samuel)  composed 
church  music  once  widely  sung ;  chapel- 
master  to  the  Duke  of  Wflrtem- 
berg.  B.  1629,  Pressburg;  d.  Nov. 
12,  1665. 

Bockstriller.  Ger.  "  Goat-bleat," 
faulty  vocalization. 

Bode  (Johann  Joachim  Chris- 
toph)  composed;  played  oboe  and 
bassoon;  editor,  printer,  and  trans- 
lator. B.  Jan.  16,  1730,  Brunswick; 
d.  Dec.  13,  1793,  Weimar. 

Boden.     Oer.    BODY. 

Bodenschatz  (Erhard)  made  valu- 
able collections  of  church  music;  com- 
posed a  "Magnificat" ;  wrote  on  theory. 
B.  Lichtenberg,  Germany,  1570 ;  pastor 
at  Gross-Osterhausen,  1608;    d.  1638. 

Body.  The  sound  Idox  of  a  stringed 
instrument;  the  main  part  of  a  wind 
instrument,  minus  mouthpiece,  crooks, 
etc. 

Boehm  (Elizabeth)  created  rSle  of 
Donna  Elvira  in  Berlin,  1790.  B. 
Riga,  1756;  m.  the  tenor  Cartellieri, 
then  Boehm  the  actor;  d.  Berlin,  1797. 

Boehm  (Heinrich)  composed  35 
operas  and  operettas  in  Bohemian.  B. 
Blasria,  Bohemia,  1836. 

Boehm  (Joseph)  taught  violin  in 
Vienna  50  years,  numbering  among  his 
pupils  Joachim,  Ernst,  L.  Straus; 
pupil  of  his  father  and  of  Rode.  B. 
Pesth,  Mar.  4,  1795;  d.  Vienna,  Mar. 
28,  1876. 

Boehm.  (Theobald)  improved  the 
flute,  on  which  he  was  a  famous 
player;  devised  new  system  of  finger- 
ing; composed  many  works  for  flute. 
B.  Munich,  April  9,  1794;  d.  Nov.  25, 
1881. 

Boehner  (Johann  Ludwig)  com- 
posed and  became  famous  as  organist 
and  improvisator ;  by  his  eccentricities 
aflforded  material  for  Hoffmann's  "  Ca- 
pelhneister  Kreisler."  B.  Tottelstedt, 
Gotha,  Jan.  8,  1787;   d.  Mar.  28,  1860. 

Boekelman  (Bernardus)  com- 
posed; founded  New  York  Trio  Club; 
taught  and  played  piano.  B.  Utrecht, 
Holland,  1838;    add.  New  York  City. 


BOEIiLMANN 


74 


BOHEME 


Boellmann  (Leon)  composed  sym- 
phony in  J? ;  "  Suite  Gothique "  for 
organ;  played  organ  at  St.  Vincent  de 
Paul's,  Paris.  B.  Ensisheim,  Alsace, 
Sept.  25,  1862;  d.  Paris,  Oct.  11, 
1897. 

Boely  (Alexandre  Pierre  Fran- 
cois) composed  chamber  music;  pupil 
of  the  Paris  Conservatoire.  B.  Ver- 
sailles, April  9,  1785;  d.  Paris,  Dec. 
27,  1858. 

Boesendorfer  (Ludwig)  succeeded 
to  the  piano  factory  established  in 
Vienna  by  his  father,  Ignaz,  1828,  and 
enlarged  the  compass  of  his  instru- 
ments and  greatly  improved  them.  B. 
Vienna,  April,  1835. 

Boesset  (Pierre  Guedron  Antoine) 
composed  24  court  ballets;  chapel- 
master  to  Louis  XIII.  B.  Dec,  1585, 
Sieur  de  Villedieu;  d.  1643.  Jean 
Baptiste  succeeded  to  his  father's 
office.  B.  1612;  son  of  PIERRE 
GUfiDRON"  ANTOINE;  d.  1685. 
Claude  Jean  Baptiste  composed  court 
ballets  and  the  duets  "  Fruits  d'Au- 
tomne  " ;  succeeded  his  father,  1667 ; 
son  of  JEAN  BAPTISTE. 

Bohgme.  Giacomo  Puccini's  four- 
act  opera  to  libretto  by  Giuseppe 
Giacosa  and  Luigi  lUica,  founded  on 
Henri  Murger's  "  La  Vie  Bohfeme,"  was 
first  produced  in  Turin,  Feb.  1,  1896, 
and  has  since  been  played  throughout 
Europe  and  America.  The  action  is 
laid  in  Paris  about  1830.  The  curtain 
rises  on  the  garret  where  Marcel  and 
Rudolphe  are  painting  and  writing. 
It  is  cold,  and  Rudolphe  burns  the 
manuscript  of  a  tragedy  that  they  may 
warm  themselves,  a  task  in  which  the 
philosopher  Colline  soon  joins  them. 
The  musician  Schaunard  comes  with 
food  and  wine,  and  while  they  are 
making  merry,  Bernard  the  landlord 
enters,  demanding  his  rent.  They 
fuddle  him  with  wine,  chaff  him  about 
his  amours,  and  then  push  him  out  of 
doors.  Rudolphe  must  complete  a 
manuscript,  but  the  other  young  men 
are  bound  for  a  lark.  They  leave  him, 
promising  to  return  for  him  later. 
Mimi,  a  pretty  young  neighbour,  comes 
to  ask  for  a  light,  and  as  she  is  leaving 
a  gust  of  wind  blows  out  the  candle, 
and  she  drops  her  key.     They  grope 


for  the  lost  key  in  the  dark.  Rudolphe 
finds  it,  but  places  it  in  his  pocket, 
then  takes  Mimi's  hand,  tells  her  of 
his  work,  and  she  replies  by  narrating 
her  own  little  history.  Rudolphe's 
companions  call  to  him  from  the 
street,  he  opens  a  window  to  answer, 
and  the  moonlight  reveals  to  his 
friends  below  Mimi  standing  beside 
him.  In  the  second  act  students  and 
their  friends  are  making  merry  in 
front  of  the  Cafe  Momus  in  honour  of. 
Christmas  eve.  Rudolphe  introduces 
Mimi  to  his  friends  Colline,  Marcel, 
and  Schaunard  and  they  order  re- 
freshments. Parpignol  the  toy  dealer 
enters  with  his  wares,  and  is  sur- 
rounded by  the  children,  whose 
mothers  finally  lead  them  away.  Mu- 
sette, formerly  the  sweetheart  of  Mar- 
cel, but  who  has  cast  him  off,  comes 
in,  richly  clad,  and  accompanied  by 
her  new  lover,  Alcindor,  to  whom  she 
talks  at  the  top  of  her  voice  to  attract 
Marcel's  attention.  Sending  Alcindor 
away  on  an  errand,  she  joins  Marcel 
and  his  friends,  and  as  the  waiter 
comes  up  demanding  his  money,  tells 
him  to  add  the  amount  to  Alcindor's 
account.  Just  as  Alcindor  receives 
this  unexpected  bill  the  group  of 
friends  march  away,  following  a  pro- 
cession of  soldiers.  In  the  third  act 
Rudolphe  confesses  to  Marcel  that  he 
means  to  leave  Mimi,  though  he  still 
loves  her,  because  she  is  dying  of  con- 
sumption, and  he  lacks  the  means  to 
provide  for  her  comfort.  Mimi,  who 
has  been  seeking  counsel  of  Marcel, 
overhears  this;  a  fit  of  coughing  re- 
veals her  presence,  and  as  Marcel 
rushes  into  the  inn,  where  he  hears 
Musette  flirting  with  some  one,  Ru- 
dolphe and  Mimi  say  farewell.  In  the 
fourth  act  we  return  to  the  garret. 
Marcel  and  Rudolphe  are  unable  to 
work  for  thinking  of  Musette  and 
Mimi.  Colline  and  Schaunard  again 
join  their  friends.  They  are  soon  foU 
lowed  by  Mimi,  who  realizes  that  she 
is  dying,  but  cannot  resist  the  tempta^ 
tion  to  see  Rudolphe  again.  She  is 
cold.  Rudolphe  tries  to  warm  her 
hands  bj^  chafing  them.  Musette,  over- 
come with  grief,  gives  Marcel  her 
jewels  to  pawn  in  order  to  buy  food. 


BOHEmiAN  GIKL 


75 


BOHEMIAN  QTJABTET 


and  wine,  and  Colline,  taking  Schau- 
nard  with  him,  goes  forth  to  pawn  his 
coat  in  order  to  provide  further  com- 
forts. Mimi,  who  has  pretended  to  be 
asleep,  now  talks  to  Rudolphe  about 
their  happiness  in  the  past.  The 
others  return  bringing  food,  wine,  and 
fuel,  but  it  is  too  late.  Mimi  falls 
asleep,  then  dies,  and  the  curtain  falls. 
The  principal  musical  numbers  are: 
Act  1 :  "Mi  chiamano  Mimi,"  Ru- 
dolphe, ten.,  and  Mimi,  sop. ;  "  O  soave 
fanciulla,"  Rudolphe;  Act  II:  waltz 
song.  Musette,  sop. ;  Act.  Ill :  "  Addio, 
senza  rancore,"  Mimi  and  Rudolphe; 
Act.  IV :  "  Sono  audati  ?  Fingeos  di 
dormire,"  Mimi  and  Rudolphe. 

Bohemian  Girl.  Michael  William 
Balfe's  three-act  opera  to  book  by 
Bunn,  adapted  from  Fanny  Ellser's 
ballet  "  The  Gipsy,"  was  produced  at 
Drury  Lane  Theatre,  London,  Nov.  27, 
1843,  and  speedily  became  one  of  the 
most  popular  operas  in  English.  As 
"  La  Bohfimienne,"  with  alterations 
and  additions,  the  work  was  favour- 
ably received  at  the  Theatre  Lyrique, 
Paris,  and  there  are  likewise  Italian 
and  Grerman  versions.  Thaddeus,  a 
noble  Polish  exile,  joins  a  band  of 
gipsies  and  saves  the  life  of  Arline, 
the  little  daughter  of  Count  Arnheim, 
Governor  of  Presburg.  Refusing  to 
drink  the  Emperor's  health,  Thaddeus 
is  in  danger  of  arrest.  Devilshoof,  the 
gipsy  captain,  interferes,  saves  Thad- 
deus, but  is  himself  arrested.  Later 
he  escapes,  taking  Arline  with  him, 
and  the  gipsy  band  disappears.  The 
band  returns  12  years  later.  Arnheim 
still  mourns  his  daughter,  whom  he 
has  given  up  as  dead,  but  consoles 
himself  in  the  society  of  his  nephew, 
Florestein,  who  falls  into  the  hands  of 
the  gipsies.  Arline  and  Thaddeus  love 
each  other,  but  Arline  has  a  rival  in 
the  queen  of  the  gipsies,  who  resolves 
to  rid  herself  of  the  girl.  She  gives 
Arline  a  medallion  stolen  from  Flore- 
stein, which  that  young  rake  recog- 
nizes when  he  meets  her  at  a  fair,  and 
vainly  tries  to  make  love  to  her.  He 
causes  Arline's  arrest,  but  when  she 
is  brought  before  Arnheim,  the  Count 
notes  a  scar  upon  her  arm,  and  soon 
learns  that  she  is  his  daughter.     De- 


spite the  alteration  of  her  fortunes, 
Arline  loves  Thaddeus,  who  manages 
to  enter  the  house  with  Devilshoof's 
aid,  but  his  presence  is  revealed  by 
the  vengeful  gipsy  queen,  and  Thad- 
deus is  ordered  to  leave  the  house. 
Arline  tells  her  father  how  she  loves 
him,  and  when  Thaddeus  proclaims  his 
noble  birth  and  deeds  in  battle,  Arn- 
heim yields.  At  the  instigation  of  the 
gipsy  queen,  one  of  the  band  fires  at 
Thaddeus,  but  Devilshoof  deflects  his 
aim,  and  the  bullet  kills  the  gipsy 
queen.  The  musical  numbers  are: 
Act  I :  "A  Soldier's  Life,"  Arnheim, 
bar. ;  "  'T  is  sad  to  leave  your  Father- 
land," Thaddeus,  ten. ;  "  In  the  Gip- 
sies' Life  you  may  Read,"  Devilshoof, 
buflfo  and  chorus;  and  the  finale, 
"  Thou  Who  in  Might  supreme " ; 
Act  II :  "  Silence,  Silence,  the  Lady 
Moon,"  chorus ;  "  I  dreamt  I  dwelt  in 
Marble  Halls,"  Arline,  sop.;  "The 
Secret  of  her  Birth,"  Arline  and  Thad- 
deus; Act  III:  "From  the  Hills  and 
Valleys,"  quartet ;  "  The  Heart  bowed 
down,"  Arnheim ;  "  Praised  be  the  Will 
of  Heaven,"  chorus ;  Act  IV :  "  When 
other  Lips  and  other  Hearts,"  and 
"When  the  Fair  Land  of  Poland," 
Thaddeus. 

Bohemian  String  Quartet 
founded  in  1891  by  Karel  Hoffmann, 
first  violin;  Josef  Suk,  second  violin; 
Oskar  Nedbal,  viola;  Otto  Berger, 
'cellist;  took  its  name  from  the  fact 
that  all  the  players  had  been  edu- 
cated in  the  excellent  conservatory  at 
Prague,  Bohemia;  and  in  aims  and 
possibly  in  virtuosity  corresponded 
with  the  American  Kneisel  Quartet. 
Hoffmann,  who  studied  seven  years 
at  the  Prague  conservatory,  was  born 
Dec.  12,  1872.  Suk  composed  an  over- 
ture to  "  The  Winter's  Tale,"  a  string 
quartet  in  A  minor,  etc.,  studied  com- 
position under  Dvoffik  at  Prague  as 
well  as  violin.  B.  Jan.  4,  1874;  m. 
daughter  of  Dvofak.  Nedbal  com- 
posed a  sonata  for  violin  and  piano; 
conducted  Czech  orchestras  in  Prague 
and  London ;  studied  composition  with 
DvofSk.  B.  Tavor,  Mar.  25,  1874. 
Berger  was  compelled  to  retire  by  ill 
health,  1897  (b.  1873),  and  his  place 
was  taken  by  Hanus  Wihan,  a  'cellist 


BOHLMAWIX  76 

who  had  been  a  member  of  Ludwlg  IPs 
quartet  at  Munich,  and  had  supervised 
the  studies  of  the  members  of  the 
quartet  in  chamber  music  while  di- 
rector at  the  Prague  conservatory. 
B.  Politz,  June,  1855. 

Boblmann  (Theodore  H.  E.)  com- 
posed; taught  piano,  1890,  Cincinnati 
Conservatory  of  Music;  became  pro- 
fessor of  piano.  Stern  Conservatory, 
Berlin;  returned  to  Cincinnati,  1908; 
pupil  of  Stade,  Barth,  Klindworth, 
Tiersoh,  d' Albert,  and  Moszkowski; 
debut,  Berlin,  1885.  B.  Osterwieck  am 
Harz,  June  23,  1865. 

Bohui  (Carl)  composed  songs; 
played  piano;  pupil  of  Lbsehhom, 
Reissman,  and  Geyer.  B.  Berlin,  Sept. 
11,  1844. 

Boh.ni  (Georg),  composed  church 
music,  played  organ  at  Hamburg  and 
Luneberg.  B.  Goldbach  near  Gotha, 
1661. 

Bohrer  (Caspar)  played  trumpet 
and  doublebass.  B.  Mannheim,  1744; 
d.  Munich,  Nov.  14,  1809.  His  sons, 
Anton  and  Max,  played  violin  and 
'cello,  joined  royal  orchestra  in  Berlin, 
1823.  Anton  went  to  Paris,  became 
concertmeister  at  Hanover,  1834.  B. 
1783;  d.  1852.  Max  became  concert- 
meister at  Stuttgart.  B.  1785 ;  d.  Feb. 
28,  1867.  The  brothers  married  two 
sisters  of  Ferdinand  David  and  Mme. 
Dulcken.  Sophie  was  talented  pian- 
ist. B.  1829;  daughter  of  Anton;  d. 
St.  Petersburg,  1849. 

Boieldieu  (Adrien  liouis  Victor) 
composed  a  mass  and  comic  opera,  per- 
formed at  the  Boieldieu  centennary, 
Eouen,  1875,  and  some  comic  operas 
successfully  presented  at  the  Opfira 
Comique.  B.  Nov.  3,  1815;  son  of 
FRANCOIS  ADRIEN  and  Phillis. 

Boieldieu  (Frangois  Adrien)  com- 
posed "  La  DAME  BLANCHE,"  which 
ranks  with  the  most  popular  if  not  as 
the  most  popular  of  French  comic 
operas,  the  "  Calife  de  Bagdad,"  and 
other  works  which  have  been  crowded 
out  of  modern  repertoire.  His  father 
was  secretary  to  the  Archbishop  of 
Rouen  and  his  mother  a  milliner,  but 
during  the  Revolution  the  elder  Boiel- 
dieu obtained  a  divorce,  remarried,  and 
the  boy  took  up  his  residence  with  his 


BOIELDIEU 


music  master,  Broche,  organist  of  the 
cathedral,  who  was  a  drunkard,  and 
abused  him  so  that  the  lad  ran  away 
to  Paris.  His  family  brought  him 
back,  and  Broche  continued  to  give 
him  the  only  instruction  he  received 
until  he  had  won  his  first  operatic 
success.  "  La  fllle  coupable,"  an  opera 
for  which  his  father  wrote  the  libretto, 
made  some  reputation  for  the  young 
man  when  performed  at  Eouen,  1793, 
and  encouraged  him  to  go  to  Paris 
again.  Two  years  later  "  Rosalie  et 
Myrza  "  was  performed  at  Rouen  with 
indifferent  success,  and  at  this  time  he 
gladly  sold  songs  to  Cochet,  the  Paris 
publisher,  at  12  francs  each.  "  Deus 
lettres,"  his  first  opera,  performed  in 
Paris,  1796,  was  followed  by  the  "  Fa- 
mine Suisse,"  which  ran  for  a  month 
at  the  Theatre  Feydeau.  "  Zoraime  et 
Zulnare,"  "  La  dot  de  Suzette,"  "  Beni- 
owski,"  and  a  number  of  instrumental 
pieces  brought  the  composer  sufficient 
reputation  to  win  him  a  professorship 
of  piano  at  the  Conservatoire  in  1800, 
and  in  that  year  his  first  great  success, 
the  "  Calife  de  Bagdad,"  was  per- 
formed. A  period  of  study  under 
Cherubini  followed,  and  then  came  the 
once  popular  "  Ma  tante  Aurore." 
Boieldieu  had  married  the  dancer  Clo- 
tilde  Mafleuroy  in  1802,  and,  according 
to  the  gossip  of  the  time,  was  most 
unhappy  in  his  domestic  relations. 
This  may  account  for  his  acceptance 
of  the  post  of  conductor  at  the  St. 
Petersburg  Opera  when  his  career  in 
Paris  seemed  most  promising.  During 
eight  years  spent  in  the  service  of  the 
Russian  Emperor  he  composed  only  a 
few  unimportant  comic  operas  and 
vaudevilles.  In  1811  he  returned  to 
Paris,  produced  "Jean  de  Paris"  in 
1812,  which  is  rated  with  his  best  work, 
collaborated  vrith  other  composers  and 
taught  composition  at  the  Conserva- 
toire, he  produced  nothing  of  note.  "La 
Dame  Blanche  "  was  the  culminating 
point  in  his  career.  His  next  work, 
"Les  deux  nuits,"  was  a  failure,  and 
the  remainder  of  his  life,  brighteiied 
it  is  true  by  his  marriage  with  the 
singer  Phillis,  1827,  was  saddened  by 
financial  difficulties,  although  a  pen- 
sion which  he  had  lost  by  the  expulsion 


BOZSBErrBE  77  BONAWITZ 

has  been  the  more  successful.  "Ne- 
rone  "  and  "  Orestiade  "  are  still  un- 
known, but  axe  assiuned  to  embody 
the  composer's  best  work.  Besides  his 
poems,  novels,  libretti,  and  essays, 
Boito  translated  the  text  of  works  by 
Beethoven,  Wagner,  and  Schumann. 
He  became  inspector  general  of  tech- 
nical instruction  at  the  Conservatory, 
1892;  Commander  of  the  Crown  of 
Italy;  and  Chevalier  of  the  Legion  of 
Honor;   add.  Milan. 

Bolero.  Sp.  Lively  dance  in  triple 
time,  accompanied  by  singing  and 
castanets. 

Bolla(Signorina)sang  opera  buffa, 
1794r-1802,  in  London  and  Paris. 

Bologna  was  the  seat  of  the  first 
Italian  school  of  music,  founded  by 
Pope  Nicholas  V,  1482 ;  later,  of  many 
academies  for  the  promotion  of  the 
arts  and  sciences,  including  music; 
and  of  an  important  Philharmonic  So- 
ciety, and  of  recent  years  has  become 
a  musical  centre  second  only  to  Milan 
itself. 

Bolt  (Jolin)  played  the  virginals  at 
Elizabeth's  court;  was  persecuted  be- 
cause of  his  religion ;  became  organist 
at  St.  Monica's,  Louvain,  1594,  and  en- 
tered the  Church.  B.  1564;  d.  Lou- 
vain, Aug.  3,  1640. 

Bombarde.  Fr.  Reed  organ  stop 
generally  in  the  pedal  register. 

Bombardon.  The  bass  tuba  or  Sax- 
horn; lowest  of  brass  valved  instru- 
ments, usually  set  in  F  or  E  flat  and 
ranging  from  F  '  or  E  '  flat  to  e '  or  d ' 
flat.  Bombardons  set  a  fifth  lower,  in 
C  or  B  flat,  are  properly  styled  contra- 
bass. The  name  Bombardon,  Bom- 
bard, Bass-Pommer  or  Brummer  was 
originally  given  deep-pitched  instru- 
ments of  the  clarinet,  oboe,  or  bassoon 
types,  then  transferred  to  a  bass  reed 
organ  stop. 

Bombyx.  GV.  Flute  or  reed 
instrument. 

Bomtempo  (Toao  Domingos)  com- 
posed church  music,  an  opera,  and 
wrote  "Methode  de  Piano,"  London, 
1816;  taught  Portuguese  royal  fam- 
ily; Knight  of  the  Order  of  Christ. 
B.   Lisbon,    1775;     d.   Aug.    13,    1842. 

Bonawitz  (John  H.)  conducted 
New  York  "Popular  Symphony  Con- 


of  Charles  X  was  eventually  restored 
by  Louis  Philippe.  B.  Dec.  16,  1775, 
Kouen;  d.  Jarcy,  near  Paris,  Oct.  8, 
1834. 

Boisdeffre,  de  (Bene)  composed 
symphony  in  A;  "  Messe  SolenneUe  " ; 
piano  music,  won  the  Chartier  prize 
for  chamber  music,  1883.  B.  Vesoul, 
France,  April  3,  1838;    add.  Paris. 

Boito  (Arrigo)  composed  the  operas 
"  MEPISTOFELE,"  "  Nerone,"  "  Hero 
e  Leandro,"  and  wrote  the  libretti  for 
Ponchielli's  "Gioconda,"  Verdi's 
"  Otello  "  and  "  Falstaff  ";  aided  in  the 
musical  reforms  which  made  possible  the 
works  of  the  "modern  Italian  school"; 
distinguished  himself  as  poet,  essayist, 
novelist.  Son  of  an  Italian  painter 
and  the  Polish  countess,  Josephine 
Radolinski,  his  studies  were  directed 
first  by  Camillo  Boito,  his  elder 
brother,  and  he  became  a  pupil  at  the 
Milan  Conservatory  at  the  age  of  14. 
He  learned  to  write  in  Italian  and 
French,  and  displayed  so  thorough  an 
acquaintance  with  the  classics  as  to 
attract  the  attention  of  Victor  Hugo, 
who  wrote  him  a  complimentary  note. 
"II  4  di  Giungno,"  a  cantata,  was  com- 
posed for  the  closing  competition  of 
the  Milan  Conservatory,  and  the  can- 
tata "  Le  Sorelle  d'ltalia,"  composed 
in  collaboration  with  Franco  Faccio 
to  Boito's  poem,  was  rewarded  by  an 
allowance  from  the  Government  to  en- 
able the  two  composers  to  study  two 
years  in  Paris.  "  Faust "  had  been 
suggested  to  him  as  a  suitable  theme 
for  opera,  by  his  brother  Camillo,  and 
during  his  sojourn  in  Paris  and  an 
incidental  visit  to  Germany,  Boito  was 
at  work  on  his  "  Mefistofele."  This 
opera  was  produced  at  Milan,  Mar.  5, 
1868.  Gounod's  "  Faust  "  had  already 
been  heard,  and  the  controversy  over 
the  respective  merits  of  these  operas 
developed  into  a  riot,  several  duels  fol- 
lowed, and  the  police  were  obliged  to 
order  the  withdrawal  of  "  Mefistofele." 
A  revision  of  "  Mefistofele,"  presented 
at  Bologna  in  1875,  has  since  been  per- 
formed in  many  parts  of  the  world. 
"  Ero  e  Leandro  "  was  not  to  Boito's 
satisfaction,  and  he  authorized  the 
two  musical  settings  by  Bottesini 
and  by  Mancinelli,  of  which  the'  latter 


BONCl  78 

eerts,"  1872-73 ;  composed  two  operas, 
produced  in  Philadelphia.  B.  Dec.  4, 
1839,  Durkheim  on  the  Rhine;  has 
resided  since  1876  in  London  and 
Vienna. 
'  Bonci  (Alessandro)  sang  ten.  in 
opera  with  great  success  in  Italy,  and 
in  1906  was  engaged  by  Hammerstein 
as  leading  ten.  at  the  Manhattan 
Opera  House,  New  York,  to  offset  the 
drawing  powers  of  Caruso.  There  was, 
in  fact,  no  occasion  for  rivalry  be- 
tween the  two  artists,  Bonci  being 
gifted  with  a  voice  of  less  powerful 
quality  but  of  even  greater  sweetness. 
He  continued  to  be  the  chief  support 
of  the  Manhattan  Opera  House  for 
two  years,  but  had  signed  with  the 
Metropolitan  for  the  season  of  1908-9. 
He  was  made  knight  of  the  Crown  of 
Italy,  1902. 

Bond  (Hugh)  composed  church 
music,  taught;  lay  vicar  Exeter  Ca- 
thedral.   D.  1792. 

Bones-  commonly  heard  at  so-called 
''  minstrel  "  shows,  referred  to  aa  rus- 
tic instruments  of  music  in  "  A  Mid- 
summer Night's  Dream,"  were  used 
by  English  country  folk  in  the  middle 
ages,  and  sometimes  called  "  knicky- 
knackers." 

Bonnet  (Jean  Baptiste)  composed 
and  played  organ.  B.  Montauban, 
1763. 

Bonno  or  Bono  (Giuseppe)  com- 
posed oratorios,  cantatas,  hymns, 
masses;  chapelmaster  at  Vienna.  B. 
Vienna,  1710;   d.  April  15,  1788. 

Bonn's  Bridge  differed  from  other 
violin  bridges  in  having  one  foot  under 
each  string  supported. 

Bononcini  or  Buononcini  (Gio- 
vanni Maria)  wrote  "  Musico  Prat- 
tico  " ;  composed  five  operas ;  masses, 
sonatas,  cantatas;  church  and  court 
musician  at  Modena.  B.  about  1640; 
d.  Nov.  19,  1678.  Giovanni  Battista 
led  the  London  opposition  to  Handel 
on  behalf  of  the  Marlboroughs  and 
others  opposed  to  the  Hanoverians, 
who  supported  Handel.  He  was  ac- 
cused in  1731  of  plagiarizing  a  madri- 
gal by  Lotti;  retired  to  Paris,  where 
he  played  'cello  before  Louis  XV  in 
one  of  his  own  motets,  and  then  to 
Venice,    as    composer    to    the    opera. 


BOBD 


Educated  by  his  father  GIOVANNI 
MAEIA  and  by  Colonna,  Bononcini 
lived  in  Vienna  and  in  Rome,  where 
his  operas  "  Tullo  Ostilio "  and 
"  Serse  "  were  performed ;  in  Berlin, 
and  in  1720  was  called  to  London  with 
Ariosto  by  Handel,  Where  he  produced 
the  operas  "  Astarto,"  "  Crispo,"  "  Er- 
minia,"  "  Farnace,"  "Calfunia," 
"  Astyanax,"  and  "  Griselda,"  all  of 
which  have  been  forgotten.  His  down- 
fall began  with  the  joint  composition 
of  "  Muzio  Scevola,"  the  part  composed 
by  Handel  being  deemed  the  best.  B. 
Modena,  1672,  his  last  important  com- 
mission was  to  compose  music  for  the 
Peace  of  Aix-la-Chapelle,  Oct.  7,  1748, 
Vienna.  Marc  Antonio  composed  the 
popular  opera  "  Camilla " ;  chapel- 
master to  the  Duke  of  Modena.  B. 
1714;  brother  of  GIOVANNI  BAT- 
TISTA;   d.  July  8,  1721. 

Bonporti  (Francesco  Antonio) 
composed  "  Le  triomphe  de  la  grande 
Alliance";  Imperial  counsellor;  b.  at 
Trient  about  1660. 

Bontempi  (Giovanni  Andrea  An- 
gelini)  composed  the  operas  "  Dafne," 
"Paride,"  "Jupiter  and  lo";  wrote 
three  books  on  theory;  sang  soprano, 
St.  Mark's,  Venice;  chapelmaster  co- 
adjutor to  Schiitz,  Dresden.  B.  Peru- 
gia, about  1630;   d.  June  1,  1705. 

Bon  temps  de  la  mesure.  Fr. 
Accented  part  of  a  measure. 

Boom,  van  (Jan)  composed  sym- 
phonies; played  piano;  taught  in 
Academy  and  Music  School  of  Stock- 
holm. B.  Utrecht,  Oct.  15,  1807 ;  son 
of  a  flute  player  of  the  same  name; 
d.  April,  1872.  Hermann,  brother  of 
Jan,  pupil  of  his  father,  became  noted 
flautist.  B.  Feb.  9,  1809;  d.  Amster- 
dam, Jan.  6,  1883. 

Boorn,  van  den  (Eduard)  played 
piano;  wrote  criticism.  B.  Liege, 
1831;    d.  1898. 

Boosey  &  Co.  manufacture  brass 
and  wood  wind  instruments  and  pub- 
lish music  in  London.  The  house  was 
founded  by  Thomas  Boosey,  1816. 

Boott  (Francis)  composed  under  the 
pen  name  "  Telford  " ;  pupil  of  Pic- 
chianti,  Florence.  B.  Boston,  June  21, 
1813;    lived  in  Cambridge,  Mass. 

Bord    (Antoine)    manufactured 


BOBBES 


79 


BOSTOIT 


pianos;    invented  the  capotaatro  bar. 
B.  Toulouse,  1814;    d.  Paris,  1888. 

Bordes  (Charles)  founded  the  "  As- 
sociation des  Chanteurs  de  Saint- 
Gervais,"  having  for  its  object  the 
study  of  antique  church  music,  while 
organist  of  the  Paris  church  of  that 
name;  composed;  founded  the  "Schola 
Cantorum"in  Paris,  1894.  B.Vouvray- 
Bur-Loire,  May  12,  1863  ;  pupil  of  Cfisar 
Franek;    add.  Paris. 

Bordogni  (Giulio  Marco)  sang  ten. 
in  opera;  taught  at  Paris  Conserva- 
toire. B.  near  Bergamo,  1788;  d. 
Paris,  July  31,  1856. 

Bordone.     It.     BOURDON. 

Borghi  (Adelaide)  sang  mez.  sop. 
under  the  name  Borghi-Mamo;  debut 
at  Bologna,  1846  to  1860.  B.  Bologna, 
1829;  add.  Florence.  Erminia  sang 
sop.  in  the  Bologna  revival  of 
Boito's  Mefistofele,  1875;  daughter  of 
Adelaide. 

Borgbi  (Iiuigi)  composed  and 
played  violin  in  London,  1774-84. 

Borjon  (C.  E.  de  Scellery)  wrote 
for  and  played  musette.  B.  1633;  d. 
Paris,  May  4,  1691. 

Borodin  (Alexander  Forphyrie- 
vich.)  composed  both  words  and  music 
of  12  songs,  the  opera  "  Prince  Igor," 
"  In  the  Steppes  of  Central  Asia," 
symphonic  poem,  two  symphonies,  and 
two  movements  of  a  third  symphony. 
Son  of  a  Prince  of  Imeretia,  Borodin 
first  graduated  in  medicine  and  taught 
diemistry  in  the  St.  Petersburg  Acad- 
emy of  Medicine.  He  joined  Balakirev 
in  the  "  New  Russian  movement "  in 
1862,  began  his  first  symphony  in 
that  year,  and  thenceforth  devoted 
himself  to  music  as  eagerly  as  to 
science.  His  opera,  left  unfinished, 
was  completed  by  Rimsky-Korsakov. 
B.  St.  Petersburg,  Nov.  12,  1834;  d. 
Feb.  28,  1887.  See  biography  by  A. 
Habets,  London,  1895. 

Borosinl  (Francesco)  sang  ten.  at 
the  Prague  opera  and  in  London  under 
Handel,  when  he  was  accompanied  by 
his  wife,  Leonora,  born  d'Ambreville, 
who  sang  con.  B.  Bologna,  about 
1695. 

Bortniansky  (Dimitri  Stepano- 
vich)  composed  the  operas  "Cre- 
onte  "  and  "  Quinto  Fabio  " ;    chapel- 


master  to  Empress  Catherine  of  Rus- 
sia; composed  35  sacred  concertos  for 
her.  B.  Gloukoflf,  Ukraine,  1752;  d. 
Oct.  9,  1825. 

Berwick  (Leonard)  played  piano 
with  Joachim  quartet  and  gave  joint 
recitals  with  Plunket  Greene;  pupil 
of  Clara  Schumann.  B.  Walthamstow, 
Essex,  Eng.,  Feb.  26,  1868;  add. 
London. 

Boschi  (Giuseppe)  became  the  most 
famous  of  18th  century  bassos;  ap- 
peared in  London  with  Handel.  B. 
Viterbo;  m.  the  contralto  Francesca 
Vanini. 

'  Bosio  (Angiolina)  sang  mez.  sop. 
in_  opera  with  great  success  in  the 
principal  cities  of  Europe  and 
America,  debut,  Milan,  1846.  B.  Turin, 
Aug.  22,  1830;  toured  America,  1848; 
d.  St.  Petersburg,  April  15,  1859. 

BoBsi  (llarco  Enrico)  composed 
"  II  Paradiso  Perduto,"  based  on  Mil- 
ton's poem,  performed  Dec.  6,  1903,  at 
Augsburg;  cantatas,  masses,  instru- 
mental works  of  all  forms;  the  sym- 
phonic poem  "  II  Cieco  " ;  "  Cantico 
dei  Cantici,"  etc.;  played  organ  Como 
Cathedral;  taught  Naples  Conserva- 
tory; became  director  Liceo  Musicale, 
Bologna,  1902.  B.  Salo,  near  Brescia, 
April  25,  1861;  studied  at  Milan; 
add.  Bologna. 

Boston  SymplLony  Orchestra, 
while  not  the  first  of  symphonic  pro- 
portions in  America  in  point  of  age, 
was  long  first  as  regarded  excellence, 
and  really  the  first  in  America  which 
could  be  called  permanent,  since  its 
history  from  1881  had  been  continuous, 
and  the  changes  in  personnel  so  grad- 
ual as  to  be  imfelt  in  the  concert  room. 
The  munificence  of  Col.  Henry  L.  Hig- 
ginson,  a  wealthy  gentleman  of  Boston, 
made  this  splendid  organization  pos- 
sible; for  during  the  long  period  of 
years  until  it  became  self-supporting, 
he  paid  the  diflFerenee  between  its  dis- 
bursements and  receipts,  often  amount- 
ing to  many  thousands  of  dollars,  out 
of  his  own  fortune.  Concerts  were 
given  at  first  in  the  old  Music  Hall 
which  had  been  erected  mainly  for  the 
use  of  the  HARVARD  MUSICAL 
ASSOCIATION,  but  of  late  years  the 
orchestra  has  enjoyed  a  home  of  its 


SOSTOIT 


80 


BOSTON 


own  called  "  Symphony  Hall,"  which 
contains  a  large  auditorium  with  ad- 
mirable acoustic  qualities,  the  library, 
dressing  rooms,  offices,  and  all  that 
is  needful  for  the  complete  conven- 
ience of  audience  and  performers.  Very 
early  in  its  history  the  orchestra  gave 
concerts  in  other  cities  than  Boston, 
and  in  1908  from  four  to  16  concerts 
annually  were  given  in  New  York, 
Brooklyn,  Philadelphia,  Baltimore, 
Washington,  in  addition  to  the  regu- 
lar home  series,  and  a  supplementary 
Boston  course  of  "  popular  "  concerts. 
The  first  conductor  was  Georg  HEN- 
SCHEL.  From  1884  to  1889  the  con- 
ductor was  Wilhelm  GERICKE. 
Arthur  NIKISCH  held  the  baton  for 
the  next  four  years,  until  1893,  during 
which  the  ensemble  of  the  orchestra 
reached  its  highest  point  of  perfection. 
Mr.  Nikisch  established  the  reputation 
of  the  strings  as  the  finest  in  the  world, 
and  managed  to  obtain  perfect  attack 
without  wholly  obliterating  the  indi- 
viduality of  the  musicians.  On  the  ex- 
piration of  his  contract,  Mr.  Nikisch 
returned  to  Europe,  and  the  next  con- 
ductor was  Emil  PAUR,  who  served 
until  1898.  Mr.  Gericke  again  became 
conductor,  retiring  in  1905.  His  suc- 
cessor was  Dr.  Karl  MUCK,  who  was 
temporarily  released  from  his  duties  at 
the  Berlin  Opera  House  in  order  that 
he  might  go  to  America.  The  first 
concertmeister  was  Bernard  LISTER- 
MANN.  Frapz  KNEISEL,  who  had 
been  concertmeister  for  14  years,  with- 
drew from  the  orchestra  in  the  last 
year  of  Mr.  Gtericke's  second  adminis- 
tration in  order  to  devote  himself  ex- 
clusively to  chamber  music,  the  mem- 
bers of  his  quartet  following  his  ex- 
ample. Willy  HESS  was  then  engaged 
as  concertmeister.  Members  of  the  or- 
chestra were  retained  under  contract 
by  the  year  at  salaries  which  enabled 
them  to  devote  their  whole  time  to  the 
rehearsals  and  concerts  of  the  orches- 
tra. The  annual  series  of  Boston  Sym- 
phony orchestra  concerts  are  a  feature 
in  the  musical  life,  not  only  of  Boston, 
but  of  the  chief  cities  of  the  Atlantic 
seaboard.  Dr.  Muck  was  compelled  to 
resume  his  duties  in  Berlin  at  the 
close   of  the    season   of    1907-8,   and 


August  Max  FIEDLER,  of  Hamburg, 
was  engaged  as  his  successor.  Han- 
del and  Haydn  Society,  organized 
Mar.  30,  1815,  was  the  oldest  musi- 
cal society  in  America  with  the  ex- 
ception of  that  at  Stoughton,  Mass., 
which  dated  back  to  Nov.  7,  1786. 
Gottlieb  Graupner,  Thomas  Smith 
Webb,  and  Asa  Peabody  issued  the 
call  which  resulted  in  the  formation 
of  the  Handel  and  Haydn  Society, 
and  the  original  officers  were  Thomas 
Webb  Smith,  president;  Amasa  Win- 
chester, vice-president;  Matthew  S. 
Parker,  secretary;  Nathaniel  S. 
Tucker,  treasurer.  The  only  musical 
society  in  Boston  at  the  time  was 
the  Philharmonic  Society,  devoted 
wholly  to  orchestral  music;  the  Mas- 
sachusetts Musical  Society,  formed  in 
1807,  having  disbanded.  Hymn  tunes 
were  sung  at  first,  but  "  The  Crea- 
tion "  and  "  Messiah  "  were  put  in  re- 
hearsal, and  excerpts  from  these  ora- 
torios were  the  chief  attraction  at  the 
first  concert  given  Christmas  night  in 
Stone  Chapel.  The  audience  numbered 
1,000.  There  were  less  than  a  dozen 
pieces  in  the  orchestra,  the  chorus 
number  about  100,  but  an  organ  helped 
swell  the  sound,  and  the  good  people  of 
Boston  were  delighted.  The  following 
year  the  society  was  chartered,  and  in 
1818  was  strong  enough  to  present  the 
"  Messiah  "  in  full.  The  number  of 
concerts  varied  with  the  years  from 
one  to  23.  The  enterprise  of  the  man- 
agement made  known  many  important 
works  for  the  first  time  at  these  con- 
certs, and  the  best  singers  were  habitu- 
ally engaged  for  solo  parts.  The  So- 
ciety took  part  in  the  Peace  Jubilees 
in  Boston  and  New  York,  1869  ajid 
1872,  and  for  a  time  triennial  festi- 
vals were  given.  Charles  E.  Horn  was 
the  first  director.  Carl  ZERRAHN 
served  in  that  capacity,  1854-98,  suc- 
ceeding Carl  BERGMANN.  After 
Mr.  Zerrahn,  the  directors  in  order 
of  appointment  were:  H.  Reinhold, 
L.  Herman,  Emil  MOLLENHAUER. 
Apollo  Club  gave  private  subscrip- 
tion concerts  devoted  to  works  for 
male  chorus.  Organized  July,  1871, 
incorporated  two  years  later,  the  di- 
rector from   1871   to   1902  was  B.   J, 


BOTE  TJTSm  BOCK                81  BOW 

Lang,  who  was  then  succeeded  by  Emil  atoire,  1871;    Chevalier  of  the  Legion 

MoUenhauer.      Choral    Art    Society  of   Honor.     B.   Paris,    1815;     son  of 

consisted   of   45    professional   singers  MAKIE  JULIE. 

directed  by  Wallace  Goodrich,  and  de-  Boulanger    (Mme.    Iffarie    Julie) 
voted  to  early  church  music,  madrigals  sang  soubrette  rOles  Opgra  Comique, 
and    glees.       The    organization    was  Paris;    debut  1811;    retired  1845.    B. 
formed  in  1901  and  was  supported  by  1786;  d.  1850. 
subscriptions.    Cecilia  was  intended  to  Boulou.     African  harp, 
present  mixed  choral  works  at  the  con-  Bourdon.      Fr.      Drone    bass    like 
certs   of   the   HAKVAKD   MUSICAL  that  of   hurdy-gurdy  or  bagpipe;     a 
ASSOCIATION.     Organized  1874,  its  16-ft.  tone  organ  stop,  found  on  both 
separate  existence  under  direction  of  manual  and  pedal. 
B.  J.  Lang  dated  from  1876.    Boston  Bourgalt-Decoudray    (Louis    Al- 
ia also  the  seat  of  the  NEW  ENG-  bert)  composed  operas;    collected  and 
LAND  CONSERVATORY  OF  MUSIC,  wrote  on  Greek  and  Oriental  music; 

Bote  und  Bock  established  music  won    Prix    de    Rome,     1862,    having 

publishing  house  in  Berlin,   1838,  to  studied     under     Ambroise     Thomas; 

which  Hugo  Bock  succeeded  in  1871.  founded  choral  society  in  Paris,  1869. 

Botel  (Heinricli)  sang  ten..  Ham-  B.  Nantes,  Feb.  2,  1840;    add.  Paris, 

burg.    B.  Hamburg,  1858.  Bourgeois    (Louis)    taught    music 

Bott  (Jean  Joseph.)  composed  two  in  Geneva  during  Calvin's  rule,  and 

operas,  played  violin;  chapelmaster  at  probably  edited  the  Genevan  Psalter; 

Cassel.     B.  Cassel,  Mar.  9,  1826;    d.  proposed   a   solfeggio    system    in   his 

New  York,  April  30,  1895.  "  Le  Droiet  chemin  de  music,"  Geneva, 

Bottesini     (Giovanni)     composed  1850. 

operas,    "Christophe    Colombe,"    pro-  Bourgeois   (Louis  Thomas)   com- 

duced    at    Havana,     1847 ;     "  Ero    e  posed     16     operas,    many    cantatas ; 

Leandro,"  Turin,   1879;   "Ali  Baba,"  counter-tenor  at  Paris  Grand  Opera, 

London,  1871;    the  oratorio  "Garden  1708.     B.  Fontaine  l'fiv6que,  Oct.  24, 

of  Olivet "  for  the  Norwich  Festival  of  1676;   d.  Paris,  1750. 

1887 ;    known  as  the  greatest  of  all  Bourges  (Jean  Uaurice)  composed 

double-bass  soloists ;  conducted  Italian  the    opera    "  Sultana,"    Paris    Op6ra 

opera  at  Paris,   Palermo,   Barcelona,  Comique,  1846;   wrote  music  criticism, 

and  Cairo.    B.  Crema,  Lombardy,  Dec.  B.  Bordeaux,  Dec.  2,  1812;  d.  1881. 

24,  1822;    d.  Parma,  July  7,  1889.  Bourges,    de    (Clementine)    com- 

Bottomley  (Joseph)  played  violin  posed  vocal  music ;   died  of  grief  Sept. 

concerto   in   public   at   seven,   became  30,    1561,   her   husband   having   been 

church  organist ;    wrote  on  music  and  killed  in  battle, 

composed.    B.  Halifax,  Eng.,  1786.  BourrSe.     Fr.     Dance  in  common 

Bouch£     FermSe.       Fr.       "  With  time  popular  with  peasants  of  Brit- 
closed  mouth."    Humming.  tany,  originated  either   in   Auvergne 

Boucher  (Alexander  Jean)  played  or     Biscay;     gave     name     to     suite 

violin  with  remarkable  skill,  though  movement. 

given  to   trickery;     debut  before  the  Bousquet  (Gteorges)  composed  the 

French  court  at  six;    m.  harpist  and  opera  "Tabarin,"  masses;    conducted; 

toured  Europe.     B.   Paris,  April   11,  wrote  criticism.     B.  Perpignan,  Mar. 

1778;   d.  Dec.  29,  1861.  12,   1818;    won  prix  de  Rome,   1838; 

Boufle.     Fr.     Buffoon.  d.  1854. 

Bouhy  (Jacques)   sang  bar.  Paris  Bow  is  the  instrument  employed  to 

and  London ;    director  New  York  Con-  set   in   vibration   the   strings   of   the 

servatory,    1885-89;     composed   songs  viols,  so  called  from  the  resemblance  it 

and  taught  in  Paris.     B.   1848,  Pep-  bore  the  weapon  of  that  name.     The 

inster,  Belgium;    add.  Paris.  modern     bow,     devised     by     Frangois 

Boiilanler      (Henri      AlexandrS  Tourte,  1745-1835,  consists  of  a  wand 

Ernst)    composed   operas;    won   Prix  of    Brazil    lancewood,    or   snakewood, 

deRome   1835;   taught  Paris  Conserv-  to  which   a  slight  outward  curve   is 

6 


BOW  HAND 


83 


BKAHMS 


given  by  the  application  of  heat.  It 
is  about  29  inches  long.  At  one  end 
is  the  head,  to  which  a  strand  of  about 
120  horse  hairs  is  affixed,  and  at  the 
opposite  end  is  the  nut  to  which  the 
other  end  of  the  strand  is  secured  in 
such  a  manner  that  it  can  be  tightened 
or  loosened  with  a  screw.  When  ready 
for  use  the  wand  or  bow  stick  now 
curves  slightly  toward  the  hair  instead 
of  arching  away  from  it.  Such  a  bow 
as  that  described  is  used  in  playing 
the  violin  and  viola.  Bows  for  the 
'cello  and  double-bass  are  shorter  and 
heavier  in  construction. 

Bow  Hand.  Usually  the  right 
hand. 

Bowing  regulates  the  quality  and 
intensity  of  sound  on  all  viol  instru- 
ments except  as  to  pitch,  which  is 
altered  by  stopping  the  strings  on  the 
flnger-board,  usually  with  the  left 
hand.  The  importance  of  correct  bow- 
ing, which  can  hardly  be  overestimated, 
is  discussed  in  Tartini's  "  Art  of  Bow- 
ing," and  in  Baillot's  "  Art  du  Vio- 
lin." Up  bow,  down  bow,  staccato  or 
saltato  bow,  are  now  usually  indicated 
by  signs  in  NOTATION,  and  the  uni- 
form bowing  which  should  be  in  evi- 
dence at  orchestral  concerts  is  designed 
to  bring  about  the  best  results  of  which 
the  instruments  are  capable  as  to 
tone  and  phrasing.  Passages  for  viols 
where  the  strings  are  to  be  plucked 
guitar  fashion  instead  of  bowed  are 
marked  Pizzicato,  and  when  the  bow 
is  to  be  resumed  Arco,  "bow."  It 
sometimes  happens  that  passages  are 
to  be  tapped  with  the  bowstick,  and 
these  are  marked  Sul  or  Col  Legno. 

Bowman  (Edward  Morris)  played 
organ  and  conducted  Temple  Choir, 
Brooklyn;  Calvary  Baptist  Church, 
New  York,  1906-8;  helped  found 
American  College  of  Musicians ;  pupil 
of  Bridge,  Maofarren,  Turpin,  Guil- 
mant;  taught  Vassar  College,  1891-95; 
conducted  Newark  Harmonic  Society 
and  Cecilian  Choir.  B.  Barnard,  Vt., 
July  18,  1848;   add.  New  York. 

Bowman  (Henry)  composed  vocal 
music  published  at  Oxford,   1678. 

Boyau.    Fr.    Catgut  strings. 

Boyce  (Dr.  William)  composed 
music  for  Dryden's  "  Secular  Masque," 


symphonies,  vocal  and  instrimiental 
music  and  "Cathedral  Music,"  London, 
1760-78;  played  organ  in  English 
churches  and  conducted.  B.  London, 
Feb.  7,  1710;    d.  Feb.  7,  1779. 

B.  Quadratum  or  Quadrum.  h. 
"  Square  B."    B  natural. 

B.  Quarre.     Fr.    B  natural. 

Brabangonne  composed  by  the 
singer  Francois  van  Campenhout,  to  a 
poem  by  the  actor  Jenneval,  and  first 
sung  during  the  Belgian  Revolution  of 
1830,  has  since  become  the  national 
air. 

Brace  couples  two  or  more  staves 
of  music;  leather  slides  for  tighten- 
ing or  loosening  a  drum-head. 

Bradbury  (William  Batohelder) 
manufactured  pianos;  taught,  con- 
ducted; edited  music  publication.  B. 
York,  Me.,  1816;  d.  Montclair,  N.  J., 
1868. 

Brade  (William)  composed  dance 
music  published  in  Hamburg,  Antwerp, 
Berlin,  and  Liibeek;  chapelmaster  at 
German  courts,  1594^1622.    B.  Eng. 

Braham  (John)  sang  ten.  r61es  in 
Italy  and  England,  having  range  of 
three  octaves;  often  composed  music 
for  his  own  rSles;  built  St.  James 
Theatre,  London;  made  unsuccessful 
American  tour,  1840.  B.  London,  1774; 
d.  Feb.  17,  1856. 

Brahms  (Johannes)  gave  new  life 
to  the  symphonic  form  which  had  been 
evolved  by  Haydn,  enlarged  by  Beetho- 
ven, and  of  which  he  was  the  last  great 
master;  composed  songs  of  exquisite 
loveliness,  chamber  music  which  is  the 
delight  of  musicians  as  well  as  their 
audiences,  and  for  solo  piano,  on  which 
he  was  a  virtuoso  in  early  life,  but 
with  so  little  regard  for  mere  display 
as  to  justify  his  neglect  by  the  average 
concert  pianist.  Conscious  of  his  ig- 
norance of  dramatic  technique,  Brahms 
never  attempted  opera.  To  him  Bach 
and  Beethoven  were  the  world's  great- 
est tone  poets,  and  while  called  revo- 
lutionary, he  adhered  through  life  to 
classic  forms  as  exemplified  in  their 
works.  His  taste  was  sufficiently  cath- 
olic to  permit  of  his  knowing  and  ad- 
miring Wagner's  scores.  But  from  the 
controversy  first  aroused  when  Schu- 
mann hailed  him  as  Beethoven's  sue- 


BBAHlVrS 


83 


BRAHUS 


cesser;  when  Liszt  was  ready  to  rec- 
ognize in  him  an  apostle  of  the  music 
of  the  future;  when  Europe  was  di-- 
vided  between  romanticists  and  clas- 
sicists, each  eager  to  welcome  him  to 
their  camp;  he  maintained  the  even 
tenor  of  his  way,  content  to  work  as 
best  he  might,  and  with  little  regard 
for  the  opinion  of  his  contemporaries. 
Thus  his  life  was  singularly  unevent- 
ful. Johann  Jacob  Brahms,  1806-72, 
destined  by  his  father  to  succeed  him 
in  business  as  an  innkeeper,  ran  away 
from  home  to  devote  himself  to  music, 
and  was  finally  permitted  to  have  his 
way.  Eventually  he  became  double- 
bass  player  in  the  Hamburg  Theatre, 
married  Johanna  Henrika  Christiane 
Nissen,  and  became  the  father  of  three 
children,  of  whom  the  composer  Jo- 
hannes was  the  second.  Doubtless 
young  Johannes  received  his  first  in- 
struction in  music  from  his  father; 
then  he  became  a  pupil  of  O.  Cossel, 
who  recommended  him  to  his  own 
master,  Marxsen,  when  he  reached  the 
age  of  10.  At  15  he  made  his  first 
public  appearance  in  concert,  and  at 
16  gave  a  concert  himself,  at  which  he 
played  Beethoven's  "  Waldstein  "  son- 
ata. In  1853  he  toured  northern  Ger- 
many in  company  with  Eemenyi  the 
violinist.  Introduced  to  Dr.  Joachim 
by  Remenyi,  and  by  him  to  Schumann 
and  Liszt,  he  was  favourably  received 
by  both.  Schiunann  not  only  printed 
an  enthusiastic  appreciation  of  Brahms 
in  the  "  Neue  Zeitschrift  fur  Musik," 
but  wrote  a  letter  in  his  behalf  to  Dr. 
Hartel,  the  publisher.  Ignoring  the 
war  of  words  which  Schumann  aroused, 
Brahms  became  court  director  of  music 
to  the  Prince  of  Lippe-Detmold,  1854, 
where  he  remained  four  years.  In 
1859  he  played  his  own  D  minor  con- 
certo, Op.  15,  at  a  Gewandhaus  concert, 
where  it  was  immediately  condemned 
as  a  departure  from  classic  models  and 
its  lack  of  display  passages,  although 
it  was  well  received  afterwards  when 
played  by  Clara  Schumann.  In  1862 
Brahms  settled  in  Vienna,  where  he 
accepted  the  post  of  conductor  at  the 
Singakademie,  but  relinquished  it  at 
the  end  of  a  year.  His  only  other 
official  appointment  was  that  of  con- 


ductor to  the  Gesellschaft  der  Musik- 
freunde,  which  he  held  from  1872  to 
1875.  Occasional  concert  tours  with 
Dr.  Joachim,  visits  to  the  German 
watering  places  in  company  with  Mme. 
Schumann,  were  the  only  interruptions 
to  an  orderly  and  methodical  life 
which  ended  peacefully,  due  indirectly 
to  a  severe  chill  with  which  he  was 
attacked  at  Mme.  Schumann's  funeral. 

B.  Hamburg,  May  7,  1833 ;  d.  Vienna, 
April  3,  1897.  In  the  catalogue  of 
Brahms'  works  will  be  found:  Sym- 
phony No.  1,  C  minor;  Symphony 
No.  2,  in  D;  Symphony  No.  3,  in 
F;  Symphony  No.  4,  in  E  minor; 
Sonatas  for  Piano  in  C,  Op.  1;  in 
E  minor.  Op.  5;  Concertos  for  piano 
with  orchestra:  in  D,  Op.  15;  in 
B  minor.  Op.  83;  Sonatas  for  'cello 
and  piano  in  E  minor.  Op.  38;  in  F, 
Op.  99;  Trios  for  Piano  and  Strings: 
in  B,  Op.  8;  in  E  flat,  Op.  40  (viola 
or  'cello  may  be  replaced  by  horn) ;   in 

C,  Op.  87;  in  C  minor.  Op.  101;  in  A 
minor  (viola  may  be  replaced  by  clari- 
net). Op.  114;  quartets  for  strings, 
C  minor  and  A  minor.  Op.  51;  in  C 
minor.  No.  3,  Op.  60  (Piano) ;  in  B 
minor.  Op.  67 ;  Quintets  for  Strings  in 
F,  Op.  88;  in  G,  Op.  Ill;  in  D  (for 
clarinet  or  viola),  Op.  115;  Sonatas 
for  Violin  and  Piano  in  A,  Op.  100; 
in  D  minor.  Op.  108 ;  For  Solo  Piano : 
28  Variations  on  a  theme  of  Paganini, 
Op.  35 ;  Two  Rhapsodies,  Op.  79 ;  For 
Orchestra:  Serenade  in  D,  Op.  11; 
Serenade  in  A,  Op.  16 ;  Academic  Fes- 
tival Overture,  Op.  80;  Variations  on 
a  theme  of  Haydn's,  Op.  56  a;  For 
chorus,  etc.:  "Rinaldo,"  cantata  to 
text  by  Goethe,  tenor  solo,  male  chorus 
and  orchestra.  Op.  50;  "Rhapsodie," 
from  Goethe's  "Harzreise,"  alto  solo, 
male  chorus,  and  orchestra,-  Op.  53; 
"Schichsalslied,"  chorus  and  orchestra. 
Op.  54;  "Triumphlied,"  chorus  and  or- 
chestra. Op.  55 ;  "  Gesang  der  Parzen," 
chorus  and  orchestra,  Op.  89;  "  Fest 
und  Gedenke  spruche,"  eight  part  chorus 
a  capella.  Op.  109;  11  part  Choral- 
Vorspiele  for  organ.  Op.  122  ( posth. )  ; 
"  Ave  Maria,"  female  voices,  orchestra 
and  organ,  Op.  12 ;  "  Funeral  Hymn  " 
for  chorus  and  wind,  Op.  13;  Seven 
Marienlieder  for  mixed  choir.  Op.  22; 


bba]u:billa 


84 


BREITKOPr  &  HABTEL 


Two  Motets  for  five  voices  a  capella. 
Op.  29;  German  Bequiem,  soli  chorus 
and  orchestra,  Op.  45  (to  the  memory 
of  his  mother)  ;  numerous  groups  of 
songs,  including  volkslieder  and  volks- 
kinderlieder.  See  biography  by  Dr. 
Herman  Deiters,  trans.  Rosa  New- 
march,  1898;  "Recollections  of  Jo- 
hannes Brahms "  by  Albert  Dietrich 
and  J.  V.  Widmann,  trans.  Dora  E. 
Heoht,  1899,  etc. 

Brambilla  (Karietta)  sang  con.; 
debut  London,  1827 ;  taught  and  wrote 
on  singing;  pupil  Milan  Conservatory. 
B.  Milan  about  1807 ;  d.  Nov.  6,  1875. 
Four  sisters  were  singers,  of  whom 
Teresa  created  the  rOle  of  G-ilda  in 
"  Rigoletto." 

Brandes  (Emma)  played  piano  in 
concert,  retiring  on  her  marriage  with 
Prof.  Engelmann  of  Utrecht.  B.  Jan. 
20,  1854,  Schwerin;  debut  at  Schwerin, 
1866. 

Erandl  (Johann)  composed  the 
opera  "Hermann";  monodrama 
"  Hero  " ;  chamber  music.  B.  Rohr, 
near  Ratisbon,  Nov.  14,  1760;  d.  Carls- 
ruhe.  May  26,  1837. 

Brandt  (Slarianixe)  sang  both  sop. 
and  mez.  sop.  rSles;  debut  at  Gratz, 
1867;  New  York,  1886-90;  retired  to 
Vienna  and  taught.  B.  Vienna,  Sept. 
12,  1842,  real  name  Marie  Bischof; 
add.  Vienna. 

Branle  or  Bransle.  Fr.  Ancient 
round  dance  in  common  time,  known 
in  England  as  the  "  Brawl." 

Brassart  or  Brasart  (Tolianiies) 
composed,  sang  in  papal  choir;  priest 
in  Liege,  15th  century. 

Brass  Band.  Small  military  band 
adapted  for  cavalry. 

Brassin  (Iionis)  played  and  taught 
piano  in  Berlin,  Brussels,  St.  Peters- 
burg; composed  operettas.^  B.  Aix-la- 
Chapelle,  June  24,  1840;  d.  May  17, 
1884.  Leopold  played  piano  in  concert 
at  five;  pupil  of  his  brother  LOUIS. 
B.  Strasburg,  1843 ;  d.  1890,  Constanti- 
nople. Gerhard  played  violin,  taught ; 
brother  of  LOUIS.  B.  1844;  add.  St. 
Petersburg  and  Constantinople. 

Bratsche.     Ger.    Viola. 

Brava  or  Bravo.  /*.  "  Bravely 
done."  Cried  in  applause.  "  Bravi " 
is  the  plural. 


Bravura.  It.  Dash,  bravery; 
Aria  di,  one  calculated  to  test  the 
singer's  courage  by  its  difficulty. 

Break  marks  the  alteration  in 
higher  voice  registers  from  chest  tones 
or  voce  di  petto,  to  head  tones  or  voce 
di  testa,  but  in  well  cultivated  voices 
is  not  noticeable. 

Breast.  In  obsolete  English,  the 
voice. 

Breit.     Ger.     Broadly. 

Breitkopf  &  Eartel  published  a 
complete  edition  of  Beethoven,  of  Bach, 
and  other  great  masters,  and  so 
much  music  in  all  that  their  catalogue 
fills  1200  pages.  The  house  had  its 
beginning  in  Leipsic,  1719,  when  Bern- 
hardt Christoph.  Breitkopf,  who  came 
of  a  mining  family  in  the  Hartz,  set  up 
a  printing  press  from  which  he  issued 
a  Hebrew  Bible,  and  other  works.  He 
died  Mar.  26,  1777,  aged  83,  but  had 
previously  turned  the  business  over  to 
his  son,  Johann  Gottlob  Immanuel, 
who,  in  1750,  introduced  movable  type 
for  printing  music,  and  revolutionized 
the  trade.  The  publication  of  an  opera 
in  full  score,  composed  by  Princess 
Amalia  of  Saxony,  1756,  established 
the  reputation  of  the  house  as  music 
publishers,  and  editions  of  the  works 
of  C.  P.  E.  Bach,  Graun,  Hiller,  and 
Leopold  Mozart  confirmed  it.  B.  1719 ; 
d.  1794.  Bernhard  Theodor,  his  eld- 
est son,  had  established  himself  in  St. 
Petersburg,  and  his  second  son  and 
successor,  Christoph  Gottlob,  after 
carrying  on  the  business  for  a  year, 
turned  it  over  to  G.  C.  HARTEL,  the 
firm  becoming  Breitkopf  &  Hartel,  1795. 
B.  1750;  d.  1800,  last  of  the  Breit- 
kopf family.  Gottfried  Christoph 
Hartel  not  only  enlarged  the  music 
publishing  business,  but  added  a  piano 
factory.  Besides  the  usual  processes 
in  use  in  his  time,  Hartel  employed 
pewter  plates  for  engraving  music,  and 
lithography,  aided  by  the  inventor 
Sennefelder.  B.  Schneeburg,  1763;  d. 
July  25,  1827.  For  the  next  12  years 
his  nephew  Elorenz  Hartel  conducted 
the  business,  giving  way  to  Hermann 
and  Baymund,  sons  of  GOTTFRIED 
CHRISTOPH.  Their  catalogue  num- 
bered more  than  14,000  works  by  1874. 
HERMANN  died  1875,  aged  72,  and  in 


"BKEULA 


85 


BBIBE 


1880,  Raymund  retired,  leaving  the 
business  in  the  hands  of  Wilhelm 
Volkmann,  b.  1837,  and  Dr.  Georg 
Oscar  ImmaxLuel  von  Hase,  b.  Sept. 
15,  1846;  grandsons  of  GOTTFRIED 
CHRISTOPH.  Dr.  Ludwig  F.  Volk- 
mann, who  replaced  WILHELM, 
1904,  and  Dr.  von  Hase  were  the 
heads  of  the  house  in  1908. 

Brema  (Marie)  sang  mez.  sop.  and 
later  higher  rSIes  in  opera;  debut  in 
London  as  Lola  in  "  Cavalleria  Rusti- 
oana,"  1891,  the  Briinnhildes,  1902. 
B.  Liverpool,  Eng.,  Feb.  28,  1856,  of 
American  mother  and  German  father, 
their  name  being  Fehrman ;  m.  Arthur 
Braun,  1874. 

Bremner  (Robert)  wrote  "The 
Rudiments  of  Music,"  1756 ;  published 
music  in  Edinburgh  and  London.  D. 
1789,  when  his  stock  and  plates  were 
purchased  by  John  Preston. 

Brendel  (Dr.  Karl  Tranz)  became 
proprietor  of  Schumann's  "  Neue  Zeit- 
sehrift  fiir  Musik "  in  1840,  through 
which  he  supported  the  art  theories  of 
Schumann,  Wagner,  and  Liszt;  lec- 
tured, wrote  criticism;  edited  other 
musical  publications.  B.  Nov.  26, 
1811;    d.  Nov.  25,  1868. 

Brenet  (Micliel)  wrote  on  musical 
history,  biography,  and  criticism.  B. 
Lunfiville,  April  12,  1858;    add.  Paris. 

Brenner,  Bitter  von  (Ludwig) 
composed  symphonic  poems,  masses, 
conducted  Berlin  Symphony  Orchestra, 
1897.  B.  Leipsic,  1833;  pupil  con- 
servatory;   d.  1902. 

Brent  (Charlotte)  sang  sop.  Debut 
at  Drury  Lane  in  "  Eliza,"  the  opera 
of  her  teacher,  Dr.  Arne;  m.  Thomas 
Pinto,  violinist ;  retired  1784.  B.Lon- 
don;   d.  April  10,  1802. 

Breuning,  von  (Hel6ne)  gave 
Beethoven  the  only  refining  home  in- 
fluence he  ever  knew;  was  the  mother 
of  the  Stephen  Breuning  who  was 
Beethoven's  closest  friend  through  life, 
despite  their  quarrels;  of  Eleonore 
Brigitta,  one  of  Beethoven's  earliest 
pupils,  and  the  wife  of  his  biographer 
Wegeler,  and  of  Lorenz  and  Christoph, 
the  former  likewise  Beethoven's  pupil, 
and  both  his  friends.  Daughter  of  thd 
Hofrath  von  Kerich,  she  married  Em- 
manuel Joseph  von  Breuning,  who  was 


in  the  service  of  the  Electoral  court  of 
Bonn.  He  was  killed  in  a  fire,  1777, 
when  his  wife  was  28.  A  woman  of 
refinement,  common  sense,  and  of  ir- 
reproachable character,  she  devoted 
herself  to  her  young  family,  to  which 
Beethoven  became  music  master  in  his 
l8th  year. 

Breval  (Iiucienne)  sang  sop.  at 
Paris  Opera,  Covent  Garden,  New 
York,  1900;  debut,  Paris,  1892; 
created  "  Brunnhilde  "  in  French.  B. 
France  about  1870;   add.  Paris. 

Breve.  It.  A  note  twice  the  length 
of  a  semibreve,  formerly  the  unit  of 
mensuration,  but  now  becoming  obso- 
lete, as  its  duration  exceeds  that  of 
the  longest  measure  now  used.  In 
mediaeval  church  music  it  was  really 
what  its  name  signifies,  "  short,"  for 
it  was  half  the  length  of  the  Longa, 
then  used  as  the  unit  of  measure. 
The  direction  Alia  Breve  now  means 
that  a  piece  must  be  played  twice 
as  fast  as  if  simply  marked  common 
time. 

Breville,  de  (Pierre  Onfroy)  com- 
posed overtures  to  "Princesse  Maleine" 
and  "  Les  Sept  Princesses";  helped 
complete  the  "  Ghiselle "  of  Cfisar 
Franck,  whose  pupil  he  was.  B.  Bar- 
le-Duc,  1861 ;   add.  Paris. 

Brewer  (Alfred  Herbert)  com- 
posed "  Dedication  Ode,"  Worcester 
Festival,  1902;  "  Emmaus,"  Gloucester 
Festival,  1901;  conducted  Gloucester 
Music  Festival,  1898-1901;  organist 
Gloucester  Cathedral.  B.  Gloucester, 
Eng.,  June  21,  1865;   add.  Gloucester. 

Brewer  (John  Hyatt)  composed 
church  music,  cantatas,  and  male  cho- 
ruses; played  organ  Lafayette  Ave. 
Pres.  Church,  Brooklyn;  conducted 
Brooklyn  Apollo  Club  in  succession  to 
Dudley  Buck,  whose  pupil  he  was.  B. 
Brooklyn,  1856;   add.  Brooklyn. 

Brewer  (Thomas)  composed  rounds 
and  glees,  and  for  viol,  on  which  he 
played.     B.  London,  1611. 

Briard  (fitienne)  engraved  music 
at  Avignon,  1530,  and  probably  was 
first  to  discard  ligatures  and  to  use 
round  for  square  notes,  although  these 
inventions  have  also  been  claimed  for 
Granjon. 

Bride  of  the  Song.     Jules  Bene- 


BBISES 


86 


BBITISH  CONCERTS 


diet's  one-act  operetta  to  book  by 
Henry  Farnie  was  produced  Deo.  3, 
1864,  at  Covent  Garden,  London. 

Brides  of  Venice.  Jules  Benedict's 
two-act  grand  opera  was  produced 
April  22,  1844,  at  Covent  Garden, 
London. 

Bridge  transfers  the  vibrations  of 
the  strings  to  the  resonance  box,  and 
is  of  the  utmost  importance  in  instru- 
ments of  the  viol  family,  since  its 
material,  shape,  and  location  affect  the 
tone.  The  bridge  raises  the  strings 
above  the  belly  so  they  may  be  acted 
on  by  the  bow,  and  likewise  determines 
the  upper  end  of  the  vibrating  portion 
of  the  strings.  The  wooden  bridge  of 
the  viols  assumed  its  present  form  in 
the  time  of  the  Amatis.  The  bridge 
of  instruments  of  the  guitar,  lute,  and 
piano  families  merely  determines  the 
length  of  the  vibrating  portion  of  the 
strings,  thus  fixing  their  pitch. 

Bridge  (Sir  John  Frederick)  com- 
posed the  services  and  anthems  for 
Queen  Victoria's  Jubilee  and  the  coro- 
nation of  King  Edward  VII,  the  "  Bal- 
lad of  Camperdown"  and  "The  Mag 
of  England,"  to  words  by  Kipling;  the 
oratorio  "  Mount  Moriah  "  for  the  de- 
gree Doctor  of  Music;  the  overture 
"  Morte  d' Arthur  " ;  organ  sonata  in 
D,  hymns ;  wrote  "  Samuel  Pepys, 
Lover  of  Musique,"  primers  on  theory; 
knighted  by  Victoria,  1897;  organist 
Westminster  Abbey,  etc.  B.  Oldbury, 
near  Birmingham,  Eng.,  Dee.  5,  1844; 
add.  London.  Dr.  Joseph  Cox  revived 
the  Chester  Musical  Festivals,  1879; 
founded  and  conducted  Chester  Mu- 
sical Society;  composed  oratorio 
"  Daniel,"  for  his  doctor's  degree,  Sym- 
phony in  F,  "  Resurgam,"  1897 ;  "  Re- 
quiem Mass,"  1900;  organist  Chester 
Cathedral.  B.  Rochester,  Aug.  16, 
1853;  younger  brother  SIR  JOHKr 
FREDERICK;    add.  Chester. 

Bridge  or  Bridges  (Richard) 
built  organs  in  England,  18th  century. 

Bridgetower  (George  A.  P.) 
played  the  "  Kreutzer "  sonata  with 
Beethoven  at  an  Augarten  concert,  vio- 
linist at  the  Haydn-Salomon  concerts 
in  London.  B.  Biala,  Poland,  1779, 
mulatto;    d.  England,  about  1850. 

Briegel    (Wolfgang    Karl)    com- 


posed church  music;  chapelmaster  to 
Duke  of  Saxe-Gotha  and  Landgrave 
of  Darmstadt.  B.  Nuremberg,  May 
21,  1626;  d.  Darmstadt,  Nov.  19, 
1712. 

Brighenti  or  Brighetti  (Mme. 
Maria)  created  Rosina  in  Rossini's 
"Barber  of  Seville,"  Rome,  1816;  de- 
but Bologna,  1814;  retired  1836;  wrote 
memoirs  of  Rossini.    B.  Bologna,  1792. 

Brillante.     It.     Brilliant. 

Brillenbasse.  Ger.  "  Spectacle 
bass."    Drum  music. 

Brind  (Biichard)  played  organ 
from  1707  to  1717,  St.  Paul's  Cathe- 
dral, London. 

Brindisi.     It.     Drinking  song. 

Brinsmead  (John)  founded  Lon- 
don piano  house,  1836;  Chevalier  of 
the  Legion  of  Honor,  1878.  B.  Oct.  13, 
1814.  The  business  passed  into  the 
hands  of  a  company,  1900,  in  which 
his  sons  John  and  Edgar  were  di- 
rectors. Edgar  wrote  a  "History  of 
the  Pianoforte,"  republished,  1879. 

Brio,  con.  It.  Spiritedly,  force- 
fully. 

Brioso.     If.     Joyfully,  forcibly. 

Brisg.  Fr.  "Broken";  of  chords 
or  arpeggios. 

Brisk.     Lively  or  vivace. 

Bristol  Madrigal  Society  was 
founded  in  1837  in  consequence  of  in- 
terest aroused  by  Prof.  Edward  Tay- 
lor's lecture  on  madrigals,  and  gave 
excellent  subscription  concerts  under 
the  direction  of  J.  D.  Corfe,  organist  of 
Bristol  Cathedral  to  1864;  since  then 
under  direction  of  Daniel  Rootham. 

Bristol  Music  Festivals  were 
founded  1873  and  were  held  triennially 
until  1888  and  yearly  thereafter.  Im- 
portant choral  works  always  including 
the  Messiah  were  sung  at  each  festival, 
under  the  direction  of  Alfred  Stone, 
1873-76;  D.  W.  Rootham,  1879-96; 
and  George  Riseley,  1902. 

Bristow  (G.  JP.)  composed,  con- 
ducted Harmonic  Society  and  Mendels- 
sohn Union  and  played  organ  in  New 
York  churches.  B.  Brooklyn,  Dec.  19, 
1825 ;  son  of  W.  R.,  violinist  and  con- 
ductor;  d.  New  York,  Dec.  13,  1898. 

British  Concerts  were  given  in 
1823  on  the  close  of  the  VOCAL  CON- 
CERTS, for  the  encouragement  of  Brit- 


BRITISH  OBCHESTBAL 


87 


BBOOXLYIT 


ish. composers,  but  failed  through  lack 
of  support. 

British  Orchestral  Society  gave 
concerts  in  London  187  2-7  S  under 
George  Mount. 

Brito,  de  (Est^ban)  composed  and 
directed  music  in  Badajos  and  Malaga 
Cathedrals;    Portugal,  17th  century. 

Britten  (Thomas)  became  famous 
as  the  "  Musical  Small  Coal  Man," 
because  of  the  concerts  given  over  his 
London  shop  by  a  club  which  included 
Handel,  Dr.  Pepusch,  John  Banister, 
and  others,  1678-1714;  was  an  author- 
ity on  old  books,  occult  sciences,  and 
despite  his  humble  trade,  the  intimate 
of  many  noblemen  of  the  time. 

Broadwood  &  Sons  manufacture 
pianos  in  London.  The  business  was 
founded  in  1728  by  Burkard  Tschudi 
or  Shudi,  a  Swiss  harpsichord  maker, 
whose  daughter  m.  John  Broadwood, 
who  became  sole  proprietor,  1782, 
afterwards  taking  his  sons  James 
Shudi  and  Thomas  into  the  firm. 
His  son  James,  his  grandson  Henry 
Fowler,  and  his  great  grandson 
Henry  John  Tschudi  Broadwood, 
the  latter  patentee  of  the  "  Earless  " 
grand,  have  all  been  connected  with 
the  firm. 

Brockway  (Howard  A.)  composed 
symphony  in  D,  ballad  and  scherzo  for 
orchestra;  played  piano  and  taught 
in  New  York.  B.  Brooklyn,  Nov.  22, 
1870;  pupil  of  Barth  and  Boise ;  add. 
New  York. 

Brod  (Henri)  improved  and  played 
oboe  in  Paris;  studied  and  taught  in 
Conservatoire.  B.  Paris,  Aug.  4,  1801 ; 
d.  April  6,  1839. 

Brode  (ICax)  conducted  symphony 
concerts;  played  violin  and  taught  in 
Kbnigsberg;  pupil  Leipsic  Conserva- 
tory and  Berlin  Hochschule.  B.  Ber- 
lin, Feb.  25,  1850. 

Brbderies.     Fr.     Ornaments. 

Broderip  (William)  composed  the 
anthem  "  God  is  our  Hope  and 
Strength";  organist  Wells  Cathedral. 
B.  1683;  d.  1726.  John  composed 
church  music;  organist  Wells  Cathe- 
dral. Believed  to  have  been  the  son 
of  WILLIAM.  Bobert  composed  for 
voice  and  harpsichord.  Probably  son  of 
WILLIAM;    d.  Bristol,  May  14,  1808. 


Broderip  &  Wilkinson  published 
music  in  London,  1798-1811,  when 
Thomas  Preston  purchased  the  firm's 
assets. 

Brodsky  (Adolph)  played  violin; 
conducted  in  Manchester  in  succession 
to  Sir  Charles  Halle,  became  principal 
of  the  Royal  College  of  Music  there, 
1895;  pupil  of  Hellmesberger  and 
Vienna  Conservatory;  conducted  at 
Kiev,  1879-81;  concertmeister  Dam- 
rosch  Symphony  Orchestra,  New  York, 
1890-94.  B.  Taganrog,  Russia,  Mar. 
21,  1851;    add.  Manchester,  Eng. 

Broekhoven,  van  (John  A.)  com- 
posed the  overture  "Columbia" ;  taught 
theory  Cincinnati  College  of  Music. 
B.  Holland,  1852;   add.  New  York. 

Broken  Cadence.  Interrupted 
CADENCE. 

Broken  Chords.    ARPEGGIOS. 

Broken  Music.  Obsolete  English 
for  music  of  stringed  instruments  in- 
capable of  sustained  tone. 

Bronsart  von  Schellendorf(Hans) 
composed  "  Frtthlings-Pantasie "  for 
orchestra ;  the  opera  "  Corsair  "  from 
Byron's  poem;  General-Intendant  at 
Weimar,  1887;  Privy  Councillor, 
1895;  pupil  of  KuUak  and  Liszt; 
m.  Ingeborg  STARCK,  1862;  B.  Ber- 
lin,  Feb.  11,  1830;    add.  Weimar. 

Brontium.  L.  Thunder  machine 
used  in  the  classic  theatre. 

Brooklyn  was  in  former  years  the 
scene  of  many  of  the  triumphs  of  Theo- 
dore Thomas,  who  gave  an  important 
series  of  symphony  concerts  at  the 
ACADEMY  OF  MUSIC.  In  1908  the 
Philharmonic  Society  which  Mr. 
Thomas  had  founded  was  content  to 
aid  in  the  support  of  the  Boston  Sym- 
phony concerts.  The  majority  of 
musical  events  were  controlled  by  the 
department  of  music  of  the  Brooklyn 
Institute.  The  principal  musical  or- 
ganization, made  up  of  Gferman  sing- 
ing societies,  notably  the  Brooklyn 
Arion  and  the  Brooklyn  Sanger- 
bund,  was  the  TTnited  Singers  of 
Brooklyn.  The  chief  musical  institu- 
tion and  the  only  one  in  this  borough 
of  Greater  New  York  not  conducted  for 
profit  was  the  Master  School  of  Mu- 
sic, founded  by  Mrs.  William  H.  Packer 
and  directed  by  Mme.  Aurelia  Jaeger. 


BBOS  88 

The  Allied  Arts  Association,  organ- 
ized by  Eugene  V.  Brewster,  possessed  a 
musical  section,  which  gave  under  Mr. 
Brewster's  management  and  the  musi- 
cal direction  of  Carl  Fique  creditable 
performances  of  "  The  Magic  Flute  " 
in  1906,  "Martha"  in  1907,  and 
"  Faust "  in  1908.  The  singers  were 
chosen  from  the  membership  of  the 
association,  amateur  and  professional, 
and  the  performances  which  were  in 
English  possessed  considerable  educa- 
tional value.  The  Idusical  Art  So- 
ciety, James  H.  Downs,  conductor,  de- 
voted its  attention  to  a  capella  music. 
The  Apollo  Club,  founded,  and  for 
25  years  conducted  by  Dudley  BUCK, 
was  a  male  chorus  devoted  to  part 
songs  in  English.  The  conductor  in 
1908  was  John  Hyatt  BEEWER. 

Bros  (Juan)  composed  masses; 
conducted.  B.  Tortosa,  Spain,  1776; 
d.  Oviedo,  Mar.  12,  1852. 

Broschi  (Carlo)  became  the  most 
celebrated  of  sopranists  as  FARI- 
NELLI. 

Brossard,  de  (Sebastien)  wrote 
the  first  French  dictionary  of  music, 
Paris,  1703;  composed;  directed  music 
at  Meaux  Cathedral,  where  he  was  a 
priest. 

B  Botundum.  L.  "  Round  B  "  or 
B  flat. 

Brounofl  (Platen)  composed  "In 
the  Russian  Village  "  ( Suite  for  Piano )  ; 
"In  the  Flower  Garden"  (Suite  for 
Piano) ;  "  Love  Songs  ";  "  The  Dew  of 
Morn"  (18  songs);  "Nocturne"  (for 
Piano);  "Romance"  (for  Violin  and 
Piano);  "Songs  of  Freedom"  (21 
Songs);  "Zion"  (Oriental  Suite  for 
Piano  in  four  parts) ;  gave  lecture 
recitals  on  "  Russia  and  her  Music  " 
and  for  the  Board  of  Education;  con- 
ducted Russian  choral  and  musical 
societies,  People's  Chorus,  Socialist 
Choral  Union;  pupil  of  Anton  Rubin- 
stein and  Rimsky-Korsakoflf,  St.  Peters- 
burg Conservatory.  In  1891  his  can- 
tata "  The  Angel "  was  performed  at 
the  Russian  Court  under  Rubinstein. 
B.  Elizabethgrad,  Russia,  1869;  add. 
New  York. 

Brown  (James  BufE)  wrote  "  Bio- 
graphical Dictionary  of  Musicians," 
1886;   "British  Musical  Biography" 


BRTJCKNEB 


with  S.  S.  Stratton,   1897;    librarian 
to  Clerkenwell,  Eng.,  Public  Library. 

Browne  (Dr.  Lennox)  wrote  on 
voice;  throat  specialist.  B.  London, 
1841;    add.  London. 

Brownsniith(John  Iieman)  played 
organ  in  English  churches  and  at  con- 
certs. B.  London,  1809;  d.  Sept.  14, 
1866. 

Bruch,  de  (Arnold)  composed  vocal 
music;  chapelmaster  to  Emperor  Fer- 
dinand I  while  King  of  Rome.  B. 
Bruges,  1840. 

Bruch  (Max)  composed  the  opera 
"  Loreley,"  the  "  Frithjof-Scenen  "  for 
male  choir  and  orchestra,  symphonies. 
Bruch's  first  work  to  be  performed 
was  his  operetta,  "  Scherz,  List  und 
Rache,"  Cologne,  1858.  He  directed 
the  Coblenz  Concert-Institution  in 
1865-67,  then  becoming  chapelmaster 
to  Prince  Schwarzburg-Sondershausen. 
From  1870  to  1878  he  gave  himself 
exclusively  to  composition,  residing  in 
Berlin  and  Bonn.  For  two  years  he 
directed  the  Stern  Singing  Society, 
Berlin;  from  1880  to  1883  the  Liver- 
pool Philharmonic  Society,  during 
which  period  he  married  Emma 
Tuczek,  the  singer.  From  1883  to 
1890  he  directed  the  Orchesterverein 
at  Breslau,  and  in  1892  joined  the 
staff  of  the  Berlin  Hochschule.  Of  a 
long  list  of  compositions  embracing 
more  than  80  opus  numbers  the  fol- 
lowing are  among  the  best  known: 
"  Kol  Nidrei,"  'cello  and  orchestra. 
Op.  47;  violin  concerto  in  G,  "Odys- 
seus "  for  soli  choir  and  orchestra. 
Op.  41 ;  "  Das  Feuerkreuz,"  contain- 
ing a  beautiful  "Ave  Maria,"  soli 
chorus  and  orchestra.  Op.  52 ;  "  Her- 
mione,"  four-act  opera.  Op.  40; 
"  Moses,"  an  oratorio.  Op.  67.  B. 
Cologne,  Jan.  6,  1828;    add.  Berlin. 

Briickler  (Hugo)  composed  songs 
and  taught.  B.  Dresden,  Feb.  18, 
1845;    d.  Oct.  4,  1871. 

Bruckner  (Anton)  composed  eight 
symphonies  and  three  movements  of 
a  ninth,  masses,  strongly  influenced  in 
style  by  his  admiration  for  Wagner; 
played  organ,  in  recital  and  at  the 
Vienna  Hofkapelle;  taught  in  the 
Vienna  Conservatory  and  lectured  in 
the  University.    B.  Ansfelden,  Upper 


BRUHNS 

Austria,  Sept.  24,   1824;    d.  Vienna, 
Oct.  11,  1896. 

Bruhus  (ITikolaus)  composed  organ 
pieces,  13  cantatas;  ranked  as  organ- 
ist second  only  to  his  teacher  Buxte- 
hude.  B.  Schwabstadt,  Schleswis. 
1665;    d.  1697. 

Briill  (Ignaz)  composed  "Das 
goldene  Kreuz,"  "Die  Bettler  von 
Samarlcand,"  "  Bianca,"  "  Gringoire," 
and  other  operas,  the  ballet  "  Cham- 
pagnermarchen,"  the  overture  "Mac- 
beth," etc.;  played  piano  and  taught. 
B.  Prossnitz,  Moravia,  Nov.  7,  1846. 

Brumel  (Antoine)  composed  15 
masses,  etc.,  published  1503-39;  prob- 
ably native  of  Flanders. 

Brummeisen.    Ger.  JEW'S  HARP. 

Bruneau  (Alfred)  composed  the 
operas  "Kfirim,"  1887;  "La  Rgve," 
1891;  "L'Attaque  du  Moulin,"  1893; 
"Messidor,"  1897;  "L'Ouragan,"  1901; 
"L'Enfant  Roi,"  1903;  those  dat- 
ing from  1893  to  libretti  by  Zola; 
a  "  Requiem "  and  many  songs,  an 
overture  heroique,  the  symphonies 
"Lgda,"  "La  Belle  aux  Bois  dor- 
mant," and  "Penth6sil6e";  wrote 
criticism;  became  conductor  at  the 
Paris  OpSra  Comique,  1903.  'Cello 
pupil  of  Franchomme,  he  won  first 
prize  at  the  Conservatoire  at  15; 
studied  composition  with  Massenet; 
played  in  the  Pasdeloup  orchestra; 
received  Legion  of  Honor,  1895.  B. 
Mar.  2,  1857,  Paris;    add.  Paris. 

Brunelli  (Andrea)  composed  and 
wrote  on  music;  Florence,  17th  cen- 
tury. 

Brunette.  Fr.  Simple  French 
love-songs. 

Bruni  (Antoine  Barthelemy)  com- 
posed operas  and  for  violin;  wrote 
methods  for  violin  and  viola;  con- 
ducted Paris  Opfira  Comique.  B. 
Corni,  Piedmont,  Feb.  2,  1759;  d. 
Paris,  1823. 

Brunnetti  (Graetano)  composed 
chamber  music  in  the  style  of  his 
friend  Boccherini;  pupil  of  his  father 
Antonio  Brunnetti,  who  directed  music 
at  Pisa  Cathedral.  B.  Pisa,  1753;  d. 
Madrid,  1808. 

Bruscamente.      /*.      Strongly   ac- 
cented ;    coarsely. 
Brussels     Conservatory     teaches 


89 


BUCK 


music  and  declamation,  gives  concerts, 
and  possesses  an  excellent  museum; 
founded  Feb.  13,  1832,  directed  by 
F.  J.  FETIS  until  his  death,  1871, 
afterwards  by  Francois  Auguste  GER- 
VAERT.  The  institution  is  endowed, 
has  an  excellent  teaching  staff  and  a 
large  library. 

Bryceson  (Henry)  founded  in  1796 
the  London  organ  building  house  now 
known  as  Bryceson  Bros.  &  Morten. 

Bryne     (Albertus)     composed     a 
morning  and  evening  service  for  the 
Anglican    church;    played    organ    at 
Westminster  Abbey.     B.   Eng.   about 
1621;    d.  London  about  1669. 
Buca.     It.    Sound-hole. 
Buccinator.     Muscle  in  the  cheeks 
development  of  which  is  important  to 
players  on  wind  instruments. 
Buccolica.     It.     Rustic. 
Bucina   or  Buccina.     L.     Curved 
horn  employed  by  ancient  Romans  for 
civil  and  military  purposes. 
Bucolique.     Fr.    Rustic. 
Buck     (Dudley)    composed    "The 
Golden  Legend,"  prize  oratorio  of  the 
Cincinnati     Music     Festival,     1880; 
"The    Centennial   Meditation    of   Co- 
lumbia" for  the  Philadelphia  Expo- 
sition of  1876;    the  opera  "  Serapis  " 
to  his  own  libretto ;  the  Mormon  comic 
opera  "  Deseret " ;    church  music  and 
for  male  chorus;    played  organ  and 
taught;  wrote  "  A  Dictionary  of  Musi- 
cal   Terms,"    "The    Influence    of   the 
Organ    in    History."      B.    Hartford, 
Conn.,   Mar.    10,    1839;     piano   pupil 
of  W.  J.  Babcock,  Hartford;    substi- 
tute organist   at   St.   John's  Church, 
Hartford;     studied  at  Leipsic  under 
Hauptmann,     Richter,     Plaidy,     and 
Moscheles;     at   Dresden   with   Rietz; 
organist  North  Congregational  Church, 
Hartford,  1862;  at  St.  James  Church, 
Chicago,    1867-71;     lost   manuscripts 
and  library  in  Chicago  fire;    organist 
St.    Paul's   Church   and   Music   Hall, 
Boston;    assistant  conductor  to  Theo- 
dore Thomas,  1875;   founded  Brooklyn 
Apollo  Club  and  became  organist  Holy 
Trinity,  Brooklyn,  1877 ;  retired  1903 ; 
since  then  resided  in  Dresden,  Munich, 
and  Brooklyn.     Well-known  works  in 
addition  to  those  mentioned  are :  "  The 
Light  of  Asia  "  to  Sir  Edwin  Arnold's 


BUCK  90 

poem;  "The  Legend  of  Don  Mimio," 
"The  46th  Psalm,"  "The  Nun  of 
Nidaros,"  "King  Olaf's  Christmas," 
"  Chorus  of  Spirits  and  Hours,"  "  Paul 
Revere's  Hide,"  "The  Triumph  of 
David,"  "  A  Midnight  Service  for  New 
Year's  Eve,"  "The  Coming  of  the 
King,"  "The  Story  of  the  Cross," 
"  Good  Friday  Service  " ;  "  Christ  the 
Victor "  for  Easter  and  Ascension 
Day;  a  symphony  in  E  flat,  the  sym- 
phonic overture  "Marmion,"  two  string 
quartets,  and  other  chamber  music  and 
many  songs.  Dudley  Buck,  Jr.,  his 
son,  taught  music  in  New  York. 

Buck  (Br.  Zechariab.)  composed 
church  music,  played  and  taught 
organ.  B.  Sept.  10,  1798,  Norwich, 
Eng.;    d.  Aug.  5,  1879. 

Buenos  Ayres,  one  of  the  most 
cosmopolitan  of  South  American 
cities,  possessed  in  1908  a  splendid 
opera  house  at  which  regular  per- 
formances of  serious  opera  were  given 
by  artists  gathered  from  the  chief 
music  centres  of  Europe,  and  other 
theatres,  at  which  opera  comique  and 
lighter  forms  of  music  might  be  en- 
joyed. With  the  exception  of  Rio 
Janeiro  no  other  South  American  city 
has  been  so  lavish  in  its  expenditures 
for  the  support  of  music. 

Buffa  and  Buffo.  It.  Feminine 
and  masculine  forms  of  "  comic,"  as 
basso  buffo,  opera  buffa. 

Buffare.     It.    To  play  the  clown. 

Buffet.     Fr.    An  organ  case. 

Buflone.     It.    Comic  singer. 

BufConescamente.  It.  Humorously 
or  in  comic  style. 

Bugle.  Hunting  or  military  horn 
of  copper  or  brass,  smaller  than  the 
trumpet,  set  in  C,  B  flat  and  E  flat, 
improved  by  the  addition  of  keys  and 
valves,  was  formerly  an  important 
solo  instrument  in  military  bands,  but 
is  generally  replaced  now  by  cornets. 

Buhl  (Joseph.  David)  became  fa- 
mous in  Paris  as  trumpeter  and 
teacher;  Chevalier  of  the  Legion  of 
Honor,  1814.     B.  Amboise,  1781. 

Bull  (Dr.  John)  became  professor 
of  music  at  Gresham  College,  1596, 
on  recommendation  of  Queen  Eliza- 
■  beth,  where  he  was  permitted  to  lec- 
ture in  English,  as  he  did  not  speak 


BTJLOW,  VON 


Latin;  played  organ  at  the  Chapel 
Royal;  became  organist  at  Antwerp 
Cathedral,  1617;  composed  for  voice, 
organ,  and  virginal;  one  of  the  many 
to  whom  the  authorship  of  "  God  Save 
the  King "  or  "  Heil  dir  im  Sieger- 
kranz  "  has  been  ascribed ;  was  equally 
celebrated  for  his  skill  as  organist  and 
as  contrapuntist.  B.  Somersetshire, 
Eng.,  about  1562;  d.  Antwerp,  Mar. 
12,  1628. 

Bull  (Ole  Borneman)  rivalled  the 
celebrity  of  Paganini  as  violinist; 
toured  Europe  and  America  with  im- 
mense success,  but  like  the  earlier 
master  was  not  above  resorting  to 
trickery  to  obtain  effects.  Spohr  said 
his  tone  was  bad  because  he  used  thin 
strings,  and  that  his  performance  of 
four-part  passages  was  made  possible 
by  an  almost  flat  bridge.  However 
that  may  have  been  he  possessed  great 
magnetism  as  well  as  extraordinary 
technique.  He  was  generous  with  the 
vast  sums  he  earned,  as  shown  in  his 
attempts  to  found  a  Norwegian  colony 
in  America,  and  to  establish  an  acad- 
emy of  music  in  Christiania,  and  he 
was  deeply  loved  by  his  countrymen. 
B.  Bergen,  Norway,  Feb.  5,  1810, 
largely  self-taught;  a  Paganini  con- 
cert which  he  attended  in  Paris,  1831, 
proved,  as  he  used  to  declare,  the  turn- 
ing point  of  his  life.  After  many  hard- 
ships he  made  his  debut  in  Paris,  April 
18,  1832,  and  then  began  his  series  of 
world  tours  which  continued  to  within 
the  year  of  his  death,  which  occurred 
at  his  country  home  in  Norway,  Aug. 
17,  1880.  Bull's  published  composi- 
tions include  "  Variations  di  bravura," 
"  La  Preghiera  d'una  madre,"  and 
"Notturno."  See  biography  by  his  sec- 
ond wife,  Sara  C.  Bull,  Boston,  1886. 

BuUard  (Frederick  F.)  composed, 
taught,  wrote  criticism;  pupil  of 
Rheinberger,  Munich.  B.  Boston, 
Mass.,  Sept.  21,  1864;    add.  Boston. 

Billow,  von  (Hans  Guide)  com- 
posed music  to  "  Julius  Caesar  "  and 
"Nirwana,"  "Ballade  for  Orchestra"; 
"Vier  Charakterstiicke  fiir  Orchester"; 
became  one  of  the  foremost  pianists 
and  conductors  of  his  generation; 
wrote  vigorously  in  support  of  the 
theories  of  Liszt  and  Wagner.     Pupil 


BtriTGEIlT 


91 


BrRTON 


of  Friedrich  Wieok,  Hesse,  Haupt- 
mann,  Plaidy,  and  Eberwein,  and 
finally  of  Liszt  at  Weimar;  he  had 
studied  law  at  Leipsic,  but  Liszt's  per- 
formance of  "  Lohengrin  "  in  1850  at 
Weimar  decided  his  career.  After  a 
time  spent  with  Wagner  at  Zurich, 
he  conducted,  then  made  a  concert 
tour  as  pianist;  taught  in  Berlin. 
In  1857  he  married  Cosima,  daughter 
of  Liszt,  and  in  1864  became  conduc- 
tor of  the  Munich  opera,  and  three 
years  later,  director  of  the  Conserva- 
tory. From  1869  to  1878  he  gave  con- 
certs in  various  European  and  Ameri- 
can cities;  chapelmaster  at  Hanover, 
1878,  and  at  Meiningen,  1880-85. 
Frau  Cosima  having  become  the  wife 
of  Richard  Wagner,  in  1882  von  Billow 
m.  Marie  Schlanzer,  who  edited  his 
letters  (Eng.  trans.,  Constance  Bache, 
1896).  B.  Dresden,  Jan.  8,  1830;  d. 
Cairo,  Feb.  12,  1894. 

Bungert  (August)  composed  the 
operatic  tetralogy  "  Die  Homerische 
Welt,"  based  on  the  Wagnerian  theo- 
ries of  music-drama;  the  orchestral 
works  "  Tasso,"  "  Hohes  Lied  der 
Liebe,"  "  Auf  der  Wartburg,"  and  the 
comic  opera  "  Die  Studenten  von  Sala- 
manka,"  etc.  B.  Mulheim,  Mar.  14, 
1846;    pupil  of  Cologne  Conservatory. 

Bunn  (Alfred)  adapted  libretti; 
managed  Drury  Lane  theatre,  London; 
brought  out  Balfe  and  Wallace  operas 
in  English.  B.  April  8,  1796;  d.  Dec. 
20,  1860,  Boulogne. 

Bunning  (Herbert)  composed 
"  Princess  Osra,"  Covent  Garden,  July 
14,  1902;  overtures,  scena;  directed 
music  London  Lyric  Theatre,  1892.  B. 
May  2,  1863;    add.  London. 

Bunting  (Edward)  made  valuable 
collections  of  Irish  music;  wrote  on 
Irish  musical  history.  B.  1773,  Ar- 
magh;   d.  Dublin,  Dec.  21,  1843. 

Buonaccordo.     /*.     Toy  spinet. 

Buonamente.    /*.    Truly,  justly. 

Buonamici  (Giuseppe)  composed, 
played  piano,  edited  piano  music; 
taught  and  directed  Cherubini  Society, 
Florence.  B.  Florence,  Feb.  12,  1846; 
add.  Florence. 

Buona  Nota.    /*.    Accented  note. 

Buononcini.  Less  favored  spelling 
of  BONONCINI. 


Burden.  .Refrain  of  a  song;  drone  of 
bagpipe;  dance  tunes  which  were  sung. 

Burde-Ney  (Jenny)  sang  sop.  in 
opera  and  concert,  debut  OlmUtz,  1847 ; 
daughter  of  a  singer  who  claimed  rela- 
tionship with  Marechal  Ney.  B.  Gratz, 
Dec.  21,  1826;    d.  May  17,  1886. 

Burgmiiller  (Norbert)  composed 
two  symphonies,  an  overture,  etc.  B. 
Feb.,  1810,  Dusseldorf,  son  of  one  of 
the  founders  of  the  Lower  Rhine  fes- 
tivals; d.  May  7,  1836,  Aix-la- 
Chapelle.  Jobann  Friedrich,  com- 
posed for  piano.  B.  Regensburg,  1806; 
brother  of  NORBERT;  d.  Beaulieu, 
France,  Feb.  13,  1874. 

Burgstaller  (Alois)  sang  Wag- 
nerian ten.  rSles  at  Bayreuth  and 
Metropolitan  Opera  House,  New  York. 
B.  Sept.  27,  1871,  Holzkirchen,  Ger- 
many; pupil  of  Bellurth  and  Eniese; 
add.  New  York. 

Burla.     It.    Joke. 

Burlando.     It.    Jokingly. 

Burlesca.     It.    Jocularly. 

Burletta.  It.  Farce  with  songs; 
burlesque. 

Burmeister  (Bicbard)  composed 
symphonic  fantasy,  piano  concerto; 
taught  piano,  Peabody  Institute,  Bal- 
timore; directed  Scharwenka  Conser- 
vatory, New  York;  pupil  of  Liszt. 
B.  Hamburg,  Dec.  7,  1860;  add.  New 
York. 

Burmester  (Willy)  played  violin; 
pupil  of  Joachim.  B.  Hamburg,  Mar. 
16,  1869. 

Burney  (Dr.  Charles)  wrote  a 
"  General  History  of  Music,"  "  A  Plan 
for  a  Music  School,"  "The  Life  and  Let- 
ters of  Metastasio,"  "  Musical  Tour  " ; 
composed  chamber  music,  played  or- 
gan. B.  Shrewsbury,  Eng.,  April  12, 
1726;    d.  London,  April  12,  1814. 

Burrowes  ( John  Preckelton)  wrote 
"  Thorough  Bass  Primer  "  and  "  Piano 
Primer";  composed  and  arranged 
piano  music.  B.  April  23,  1787,  Lon- 
don;   d.  Mar.  31,  1852. 

Burton  (Avery)  composed  masses, 
etc.,  in  England,  16th  century. 

Burton  (John)  became  famous 
harpsichord  player.  B.  England,  1730; 
d.  1785. 

Burton  (Robert,  Sr.)  directed 
chorus   for  the  Leeds  and  Bradford 


BTJSBY 


92 


festivals.    B.  Dewsbury,  Eng.,  Sept.  1, 
1820;    d.  Herrogate,  Aug.  2,  1892. 

Busby  (Thomas)  composed  music 
for  a  version  of  Kotzbue's  "  Joanna," 
secular  oratorio  "  Britannia  " ;  wrote 
"  A  History  of  Music."  B  Loudon, 
1755 ;    d.  May  28,  1838. 

Busnois  (Anthoine)  composed 
church  music  and  songs,  eminent  con- 
trapuntist in  the  service  of  Charles 
the  Bold  of  Burgundy.  B.  Pieardy, 
15th  century. 

Busoni  (Ferruccio  Benevenuto) 
composed  an  orchestral  suite,  string 
quartets,  violin  concerto  in  D,  Op.  35; 
"  Concertstucke "  for  piano  and  or- 
chestra, Op.  31;  a  "ballet  scene," 
"  Symphonisches  Tongedicht " ;  played 
piano,  ranking  with  the  best  inter- 
preters of  Bach;  taught  in  Helsing- 
fors,  Moscow  Conservatoire,  Boston, 
Mass.;  pupil  of  his  mother  Anna 
Weiss,  pianist,  and  his  father  Ferdi- 
nando,  a  clarinetist;  later  of  Schmidt 
and  Mayer.  B.  near  Florence,  April 
1,  1866;    add.  Berlin. 

Bussone.  It.  Obsolete  instrument 
of  bassoon  type. 

Busuan.     16  ft.  reed  organ  stop. 

Butler  (Thomas  Hamly)  composed 
music  for  "The  Widow  of  Delphi"; 
taught  in  Edinburgh.  B.  London, 
1762;    d.   1823. 

Butt  (Clara)  sang  con.  with  great 
success  in  concert;  debut  1892  with 
the  Bach  Choir,  at  the  Norwich  Fes- 
tivals in  Elgar's  "Sea  Pictures," 
Cliffe'a  "Triumph  of  Alcestis,"  and 
Bedford's  "  Eomeo  and  Juliette,"  all 
of  which  were  written  for  her ;  studied 
with  Daniel  Rootham  of  Bristol;  won 
scholarship  at  Eoyal  College  of  Music, 
1889;  later,  pupil  of  Bouhy  and  Mme. 
Gerster  in  Paris;  toured  America, 
1899.  B.  Southwick,  Eng.,  Feb.  1, 
1873 ;  m.  the  bar.  E.  Kennerley  Eum- 
ford,  June  26,  1900;    add  London. 

Button.  Leather  disk  on  wire  of 
organ  tracker;  knob  on  base  of  viol; 
accordion-keys. 

Button  &  Whittaker  succeeded  to 
music  publishing  business  of  the 
Thompsons,  1804,  retiring  1830. 

Buttstedt  (Tohann  Heiurich) 
wrote  a  defence  of  solmisation;  com- 
posed masses,  harpsichord  music.    B. 


April  25,  1666,  Bindersleben  Eufurt; 
d.  Dec.  1,  1727. 

Buxtehude  (Dietrich)  composed 
free  organ  music,  made  Liibeck  famous 
for  its  music,  and  ranked  as  the  great- 
est organist  of  his  age;  established 
the  "  Abendmusiken  "  in  the  Marien- 
kirche  of  Liibeck  which  Johann  Se- 
bastian Bach  walked  50  miles  to  hear; 
taught  with  great  success,  numbering 
among  his  pupils  Nicholas  Bruhns. 
B.  Helsingor,  Denmark,  1637;  son  of 
an  organist;    d.  May  9,  1707. 

Buxus.     Boxwood  flute. 

Byfield  (iTohii.)  built  organs  in  Eng- 
land with  his  son  John,  founded  the 
organ  building  houses  of  Byfleld,  Jor- 
dan &  Bridge,  and  HARRIS  &  BY- 
FIELD.    D.  1774. 

Byrd  (William)  composed  masses, 
collection  of  motets,  music  for  the  vir- 
ginals, and  madrigals;  was  so  highly 
esteemed  that  he  obtained  from  Queen 
Elizabeth  a  patent  granting  him  with 
Thomas  Tallis  a  monopoly  of  music 
printing.  He  remained  in  the  service 
of  the  court,  known  to  be  a  Roman 
Catholic  at  a  time  when  persons  of 
that  faith  were  being  prosecuted,  and 
he,  his  wife  and  servant  were  indicted 
from  absenting  themselves  from  Prot- 
estant worship,  but  not  tried.  B. 
about  1542,  probably  at  Lincoln;  d. 
about  July  4,  1623,  at  his  estate  of 
Stondon,  Essex. 

Byssynge  Songes.  Cradle  songs 
or  lullabies. 

Byzantine  Scales  were  four  in 
number  with  an  equal  number  of  PLA- 
GALS;  used  in  the  ancient  Greek 
Church. 


C  is  the  keynote  of  the  natural 
scale,  so  called  because  it  is  the  only 
one  which  can  be  written  without 
sharps  or  flats.  Middle  C,  so  named 
because  of  its  position  in  NOTATION, 
as  well  as  on  the  keyboard  of  the 
piano,  is  the  result  of  522  vibrations 
in  French  or  International  pitch,  and 
occupies  the  first  line  below  the  G  or 
treble  staff.  In  the  staveless  designa- 
tion of  notes  adopted  in  this  book  and 
by  most  modern  authorities.  Middle  C 
is  indicated  by  c',  that  is  lower  case  c 


CABALETTA 


93 


CADENZ 


with  an  accent.  The  upper  octaves  are 
marked  by  an  additional  accent  for 
each  octave,  thus  treble  C  becomes  c", 
its  octave  c'",  etc.  In  descending  from 
Middle  C  we  find  first  the  4  foot,  sec- 
ond or  small  octave,  indicated  by  c, 
then  the  8  foot,  first  or  great  octave, 
indicated  by  C;  then  the  16  foot  or 
contra-oetave  indicated  by  'C,  etc. 
The  modern  scale  of  C  corresponds  to 
the  ancient  Ionian  Mode  and  is  iden- 
tical with  the  Xlllth  of  the  Ecclesi- 
astical Modes.  C  likewise  gives  name 
to  the  alto  or  tenor  CLEF,  and  to  the 
minor  key  relative  to  E  flat  major. 
As  a  time  indication  C  stands  for  four 
beats  to  the  measure,  and  when  a  line  is 
drawn  through  it,  for  ALLA  BREVE. 

Cabaletta.  8p.  Rondo  melody  in 
triple  time  to  which  accompaniments 
were  written;  short  final  movement 
of  an  air. 

Cabel  or  Cabu  (Karie)  sang  sop. 
in  opera,  debut  1850  at  Paris  Opfira 
Comique  to  1878;  b.  Dreulette,  m. 
Cabu,  her  singing  master.  B.  Ligge, 
Jan.  31,  1827;  d.  May  23,  1885. 
Eduard  sang  in  opera  at  Paris. 

Cabezon  or  Cabegon,  de  (Felix 
Antonio)  played  organ  and  harpsi- 
chord with  skill,  though  blind  from 
birth.  B.  Madrid,  Mar.  30,  1510;  d. 
Mar.,  1566. 

Cabinet  d'Orgue.    Fr.    Organ  case. 

Cabinet  Pianoforte.  Upright 
piano. 

Cabiscola.     Precentor. 

Caccia.  It.  Hunting,  as  como 
caccia,  hunting  horn. 

Caccinl  (Julio  Bomano)  sang  and 
played  lute  in  the  service  of  Grand 
Duke  of  Tuscany;  composed  "Le 
Nuove  Musiche,"  madrigals  and  canons 
for  single  voice ;  "  Combattimento 
d'Apolline  col  Serpente  " ;  and  aided 
Peri  in  setting  Rinuccini's  pastoral 
play  "Dafne,"  1593;  thus  assisting 
in  the  foundation  of  modern  opera  and 
the  reformation  of  music  of  his  day. 
B.  1558,  Rome. 

Cachuca.  8p.  Dance  in  3-4  time 
resembling  bolero. 

Cacophony.     Gr!    Discord. 

Cadeac  (Pierre)  composed  masses, 
motets;  master  of  choristers  at  Auch, 
16th  century. 


Cadence  is  employed  in  music  to 
bring  a  strain  of  melody  or  harmonic 
phrase  to  its  rhetorical  conclusion.  A 
Perfect  Cadence  is  one  which  first  de- 
fines the  key,  sounding  the  dominant 
chord,  then  passes  to  the  tonic  chord, 
the  only  ending  satisfying  to  the  ear. 
A  close  or  stop  less  satisfactory  to  the 
ear  is  produced  when  the  tonic  chord 
is  followed  by  the  dominant,  and  this 
is  the  most  frequent  form  of  the  Im- 
perfect Cadence.  Where  the  chord  of 
the  dominant  seems  about  to  lead  up 
to  the  tonic  chord,  but  substitutes 
other  harmony  instead,  as  that  of  the 
submediant,  an  Interrupted  Cadence 
results.  The  effect  of  the  perfect 
cadence  may  be  compared  to  that  of 
a  period;  of  an  imperfect  cadence  to 
that  of  a  dash;  of  an  interrupted 
cadence  to  that  of  the  comma.  When 
the  tonic  chord  is  preceded  by  the 
major  or  minor  chord  of  the  subdomi- 
nant  the  cadence  is  called  Plagal.  A 
cadence  in  two  simple  chords  is  a 
Simple  Cadence;  but  when  suspen- 
sions or  other  devices  are  introduced, 
becomes  Compound.  Bearing  in  mind 
these  simple  definitions,  it  will  only 
be  necessary  to  add  that  a  Mixed  Ca- 
dence is  one  in  which  both  dominant 
and  subdominant  harmony  are  intro- 
duced immediately  before  the  tonic 
chord,  and  that  a  Medial  Cadence  is 
merely  an  Inverted  Cadence.  The  ca- 
dences of  mediaeval  music  were  called 
"  clausulae,"  and  were  subdivided  into 
many  classes,  as  Clausula  Vera  or 
true  cadence;  Clausula  Plagalis  or 
plagal  cadence;  Clausula  Media,  Ficta, 
Subsidaria;  or  medial,  false,  or  sub- 
sidiary cadence,  etc.  Clausula  Vera 
was  identical  with  the  modern  per- 
fect cadence.  In  early  English  "  fall " 
was  synonymous  with  cadence;  and 
it  likewise  means  a  running  shake  or 
trill,  either  in  vocal  or  instrumental 
music,  as  a  means  of  returning  to  a 
first  subject,  or  of  conclusion. 

Cadence  Imparfaite.     Fr.    Imper- 
fect cadence. 

Cadence    Perlee.      Fr.      Brilliant 
cadence. 

Cadence     Bompue.       Fr.      Inter- 
rupted cadence. 

Cadenz.     Ger.    Cadence. 


CADENZA  94  CALIFORNIA 

Cadenza.  It.  Originally  an  orna-  to  his  death.  May  18,  1798,  when  the 
mental  passage  introduced  by  a  singer  business  was  carried  on  for  a  time  by  his 
toward  the  close  of  an  aria,  the  cadenza  brother,  W.  H.,  and  his  son,  Thomas,  Jr. 
spread  to  instrumental  performers  who  Cain  (Henri)  wrote  libretti  for 
sometimes  improvised  at  great  length,  Massenet.  B.  Paris,  1859. 
and  became  so  much  the  fashion  that  Ca  Ira.  Sung  by  the  Parisians  on 
Mozart,  Beethoven,  and  Mendelssohn  their  march  to  Versailles,  Oct.  5,  1789, 
all  wrote  out  cadenzas  for  composi-  was  composed  as  a  contre  danse  and 
tions  meant  for  solo  instruments.  published  as  "  Carillon  National "  by 

Caecilian  Society  gave  subsorip-  Becour  or  Becourt,  drummer  at  the 
tion  concerts  in  London,  at  which  Paris  Op6ra.  The  words,  based  on  a 
oratorios  were  performed  from  1785  to  saying  of  Benjamin  Franklin's,  are 
1861.  The  conductors  were :  Mr.  Vin-  said  to  have  been  suggested  by  General 
cent,  Thomas  Walker,  his  son  Joseph  Lafayette  to  Ladre,  a  street  singer. 
Walker,  and  James  Shoubridge.  Caisse.     Fr.    Drum. 

Caesar   (Dr.   Julius)   composed       Caisse  Claire.     Fr.    Snare-drum, 
catches;  English  amateur,  17th  century.       Caisse  Grosse.     Fr.    Bass  drum. 

Cafaro  (Fasquale)  composed  a  Caisse  Boulante.  Fr.  Tenor  drum. 
"  Stabat  Mater,"  cantatas  and  ora-  Calah  (Jolin)  composed  church 
torios ;  chapelmaster  and  director  of  music,  etc. ;  played  organ  Peterborough 
the  Conservatory  at  Naples;  also  Cathedral.  B.  1758;  d.  Aug.  5,  1798. 
called  Caffarelli.  B.  Feb.  8,  1706,  Calamus.  Heed  flute. 
Lecce,  near  Naples;    d.  Oct.  23,  1787.       Calando.    It.    Indicates  decrease  in 

CafCarelll  (Oaetano  Majorano)  be-   volume  of  tone  and  in  tempo, 
came  one  of  the  most  celebrated  so-       Calandrone.      It.     Primitive    two- 
pranists   of   all   times,   assuming  the   hole  clarinet  played  by  peasantry, 
name  Oaffarelli  in  compliment  to  his       Calascione  or  Colascione.    It.    In- 
teacher;    also  studied  five  years  with   strument  of  guitar  family  having  two 
Porpora,  and  in  1724  made  his  debut   or  three  strings. 

in  Kome,  singing  with  continuous  sue-       Calata.      /*.      Sprightly    dance    in 
cess  (except  in  London,  where  the  cli-    2-4  time. 

mate  did  not  agree  with  him)   until       Calcando.     It.    Hurrying  the  time. 
65,  by  which  time  he  had  become  very       Calcant.     Treading, 
wealthy  and  had  purchased  a  dukedom,       Calcenten-Glocke.     Ger.    Bells 
which  a  nephew  inherited.     B.  April   rung  by  pedal  action. 
16,  1703,  Naples;    d.  Nov.  30,  1783.  Caldara (Antonio) composed  church 

Cagnoni  (Antonio)  composed  the  music,  36  oratorios,  66  operas;  assist- 
opera  bulfa  "  Don  Bucefalo,"  Milan,  ant  chapelmaster  to  J.  J.  Fux  at 
1847,  still  popular  in  Italy,  many  Vienna.  B.  Venice  about  1670;  d. 
other  operas,  "  Papa  Martin  "  having   Dec.  28,  1736. 

been  given  in  English  as  "  The  Porter  Caldicott  (Alfred  Tames)  composed 
of  Havre";  motets;  chapelmaster  at  13  operettas,  cantatas;  played  organ, 
Vigevano  and  at  Bei^amo;  Com-  Worcester;  taught  Royal  College  of 
mander  of  the  Crown  of  Italy.  B.  Music,  London.  B.  1842,  Worcester, 
Feb.  8,  1828,  Godiasco,  Voghera;  d.  Eng.;  d.  Oct.  24,  1897. 
Bergamo,  April  30,  1890.  California,   XTniversity  of,  which 

Cahen  (Albert)  composed  the  is  located  in  Berkeley,  a  suburb  of 
operas  "  Le  Bois,"  1880 ;  "  La  Belle  au  San  Francisco,  included  a  Department 
Bois  Dormant,"  1886 ;  "  Le  Vfinitien,"  of  Music  headed  by  Prof.  WOLLE. 
1890 ;  "  La  Femme  de  Claude,"  1896 ;  Mrs.  Phoebe  A.  Hearst  had  been  one 
the  ballet  "FleurdeNeiges,"  1891;  and  of  the  largest  benefactors  of  this  in- 
" Jean  lePrecurseur,"  a  Biblical  drama,  stitution,  and  the  beautiful  Greek 
1874;  pupil  of  Cesar  Franck.  B.Jan.  Theatre,  with  a  seating  capacity  of 
8,  1846;    d.  Cap  d'Ail,  France,  1903.       8000,  was  the  gift  of  her   son    Wil- 

Cahusac  (Thomas)  published  music  liam  Randolph  Hearst,  the  newspaper 
and  made  mstruments  in  London,  1775,   proprietor.     While  the  department  of 


CAIiL 


95 


CAMIDGE 


music  is  of  recent  foundation,  it  had 
attracted  a  lajge  enrolment  in  1908, 
and  this  Greek  Theatre  was  used  not 
merely  for  a  series  of  concerts  by  the 
Symphony  Orchestra  and  the  Minetti 
quartette,  but  for  "half  hours  of 
musie"given  regularlyon  Sundayafter- 
noons,  which  were  free  to  the  public. 

Call.  Military  signal  sounded  by 
bugle  or  drum. 

Call  Changes  are  those  rung  ac- 
cording to  written  direction,  or  as  the 
conductor  calls  them,  to  each  bell- 
ringer.  See  BELLS. 
_  Call,  von  (Iieonard)  wrote  instruc- 
tion book  for  guitar  and  composed 
songs.     B.  1779;    d.  Vienna,  1815. 

Callcott  (Dr.  John  Wall)  helped 
found  the  London  Catch  Club,  1787, 
and  in  1789  won  all  its  prizes  with 
his  catch  "  Have  you  Sir  John 
Hawkins'  History?"  his  canon  "O 
that  Thou  would'st,"  and  his  glees 
"  O  Thou,  where'er  thie  bones  att 
rest "  and  "  Gro,  idle  boy  " ;  wrote  a 
"Musical  Grammar,"  1806,  and  became 
insane  while  at  work  on  a  dictionary 
of  music.  B.  Nov.  20,  1766,  London; 
d.  May  15,  1821.  William  Hutchins 
composed  songs  including  "  The  Last 
Man,"  and  the  anthem  "  Give  Peace  in 
our  time,  O  Lord."  B.  Sept.  28,  1807 ; 
son  of  JOHN  WALL;  d.  Aug.  5,  1882. 
William  Robert  Stuart  played  organ. 
B.  London,  1852;  son  of  WILLIAM 
HUTCHINS;    d.  1886. 

Calliope.  Instrument  composed 
of  steam  whistles  arranged  in  organ 
style  and  played  by  keyboard;  in 
Greek  mythology  name  of  Muse  of 
Heroic  Verse. 

Calma,  con.     /*.    With  calmness. 

Calmato.     It.    Calmed. 

Calore,  con.     /*.    With  heat. 

Calori  (Anglola)  sang  sop.  in  opera 
with  great  success,  1758-83.  B.  Milan, 
1732;    d.  about  1790. 

Caloroso.  It.  Passionately; 
warmly. 

Calvary.  Ludwig  Spohr's  oratorio 
"  Des  Heilands  letzte  Stunden  "  is  so 
called  in  the  English  version  per- 
formed under  Spohr's  own  direction 
at  the  Norwich  Festival  of  1839. 

Calvfi  (Emm.a)  became  recognized 
as  the  greatest  of  Carmens;    created 


the  r6le  of  Anita  in  Massenet's  "  Na- 
varraise,"  which  was  composed  for  her, 
and  the  name  part  in  that  composer's 
"Sapho";  excelled  as  Santuzza;  pupil 
of  Mme.  Marchesi  and  of  Puget ;  debut 
as  Marguerite  in  Brussels,  Sept.  23, 
1882;  became  popular  favourite  at 
Coyent  Garden,  London,  and  Metro- 
politan Opera  House,  New  York ;  sang 
at  Manhattan  Opera  House,  New  York, 
1907-8.    B.  Madrid,  1864;   add.  Paris. 

Calvisus  (Seth)  composed  and 
wrote  on  music;  taught  and  directed 
at  the  Thomassehule  and  Thomas- 
kirche,  Leipsic.  B.  Gorsleben,  Thurin- 
gia,  Feb.  21,  1556;  d.  Leipsic,  Nov. 
24,  1615. 

Camargo  (Miquel  Gomez)  com- 
posed and  directed  music  at  Valla- 
dolid,  Spain,  16th  century. 

Cambert  (Robert)  composed  the 
first  French  opera,  "Pomone,"  with 
Perrin,  produced  Mar.  19,  1761;  his 
first  operatic  composition,  "La  Pas- 
torale," having  been  performed  at  the 
Chateau  d'Issy  as  early  as  April,  1659. 
Letters  patent  were  issued  to  Perrin 
establishing  the  Academic  de  Musique, 
and  for  30  years  Cambert  and  Perrin 
worked  together  until  Lulli  came  into 
power,  when  Cambert  went  to  England, 
becoming  master  of  music  to  Charles 
II.  In  early  life  Cambert  was  organist 
at  St.  Honore's  Church,  Paris,  and  In- 
tendant  of  Music  to  Anne  of  Austria. 
B.  1628,  Paris;    d.  London,  1677. 

Cambiare.     It.     To  turn  or  alter. 

Cambini  (Giovanni  Giuseppe) 
composed  chamber  music  in  the  sfyle 
of  Boccherini,  which  was  mistaken  for 
the  work  of  that  master  and  pub- 
lished as  such ;  12  operas ;  "  Le  Sac- 
rifice d'Isaac,"  an  oratorio  performed 
at  the  Paris  Concerts  Spirituelj  1774; 
60  symphonies,  etc.;  conducted;  played 
violin;  wrote  criticism;  but  died  in 
poveriy  after  romantic  life,  in  the 
course  of  which  he  was  captured  by 
Corsairs  while  returning  with  his  bride 
from  Leghorn  to  Naples,  and  sold  into 
slavery  in  Barbary.  B.  Leghorn,  Feb. 
13,  1746;    d.  Paris,  1825. 

Camera,  Musica  di.  /*.  CHAM- 
BER MUSIC. 

Camidge  (John)  wrote  "  Six  Easy 
Lessons  for  the  harpsichord";    pupil 


CAMMINANDO                 96  CAMPRA 

of  Dr.  Greene  and  Handel;  organ-  Mapleson) ;  debut  at  Bologna,  1871. 
ist  at  York  Cathedral.  B.  York,  B.  June  26,  1846,  Parma;  d.  near 
1735;  d.  April  25,  1803.  Matthew  Parma,  Nov.  22,  1896.  Cleofonte 
wrote  a  "  Method  of  Instruction  in  conducted  at  Manhattan  Opera  House, 
Music  by  Questions  and  Answers";  New  York,  1906-8;  Covent  Garden, 
composed  sonatas  and  published  col-  London,  La  Scala,  Milan;  studied  and 
lection  of  hymn  tunes;  played  organ  taught,  Milan  Conservatory, 
at  York  Cathedral  in  succession  to  his  Campanology.  The  art  of  making 
father  JOHN.  B.  York,  1758;  d.  or  ringing  BELLS.  See  "Change 
Oct.  23,  1844.  Jolin  composed  and  Ringing  Disentangled,"  Rev.  Wool- 
published  a  volume  of  Cathedral  more  Wigram,  1871;  "Clocks  and 
music,  and  played  organ  at  York  Bells,"  E.  B.  Denison;  "Church  Bells 
Cathedral  in  succession  to  his  father  and  Ringing,"  W.  T.  Maunsell. 
MATTHEW.  B.  York,  1790;  d.  Sept.  Campbell(Alexaiider)played  organ 
21,  1859.  Thomas  Sim.psoiL  played  in  Edinburgh,  where  he  edited  and 
organ  in  English  churches  and  was  published  a  collection  of  Scots  songs, 
assistant  to  his  father  JOHN  at  York  1792.  B.  Tombea,  Loch  Lubnaig,  Feb. 
Cathedral.  John,  son  of  THOMAS  22,  1764;  d.  May  15,  1824. 
SIMPSON,  became  organist  at  Bev-  Campenhout,  van  (Frangois)  com- 
erly  Minster,  Eng.  posed  the  "  BRABANQONNB,"  which 
Camminando.  It.  Flowing.  became  Belgium's  national  air,  "Gro- 
Campagnoli  (Bartolomeo)  com-  tins,"  and  other  operas;  sang  ten.  in 
posed  for  and  played  violin ;  conducted  opera  for  thirty  years,  ending  1827. 
Gewandhaus  concerts,  Leipsic,  1797.  B.  Feb.  5,  1779,  Brussels;  d.  April  24, 
B.  Cento  near  Bologna,  Sept.  10,  1751;  1848. 

d.  Nov.  6,  1827,  Neustrelitz.  Campioli     (Antonio     Crualandi) 

Campana.     /*.    Bell.  sang  con.  in  opera;  debut  Berlin,  1708, 

Campana   (Fabio)  composed  "Al-  later  with  Handel  in  London,  1731. 

mira,"  "Esmeralda,"  and  other  operas.  Campion    (Thomas,    KC.D.)    com- 

songs ;  taught  music  in  London.  B.  Bo-  posed  songs  and  wrote  on  theory,  being 

logna,  1815;    d.  London,  Feb.  2,  1882.  physician,  poet,  and  dramatist,  as  well 

Campanari    (Leandro)    conducted  as   musician.     B.    1575,   London;     d. 

opera    at    Covent    Garden,    London,  1619. 

Manhattan  Opera  House,  New  York,  Camporese  (Violante)  sang  at  Na- 

1906-7 ;     composed     and     wrote     on  poleon's  private  concerts  in  Paris,  and 

music;     played  violin  and  organized  with  equal  success  in  opera;    London 

string  quartet;    pupil  of  Milan  Con-  debut,  1817;    retired  1827.     B.  Rome, 

servatory;     settled   in   Boston,    1878;  1785;    d.  1839. 

became  director  violin  department  Campra  (Andre)  dominated  French 
Cincinnati  College  of  Music  in  succes-  operatic  stage  between  the  reigns  of 
sion  to  Henry  Schradieek;  returned  LuUi  and  Rameau,  making  his  first 
to  Italy;  Chevalier  of  the  Crown  of  success  with  "  L'Europe  Galante," 
Italy;  conducted  at  Milan.  B.  Ro-  1697,  which  with  his  next  work  "  Le 
vigo,  Italy,  Oct.  20,  1857.  Giuseppe  Carnaval  de  Venise,"  was  published 
sang  bar.  with  distinction  at  Covent  in  the  name  of  his  brother  Joseph,  a 
Garden,  London,  Metropolitan  Opera  doublebass  player,  as  Campra  had 
House,  New  York;  self  taught  in  vocal  taken  orders  and  held  church  bene- 
muaie,  having  studied  'cello  at  Milan  fices.  The  popularity  of  his  works 
Conservatory,  afterwards  playing  with  encouraged  him  to  withdraw  from  the 
Boston  Symphony  Orchestra.  Brother  church,  and  "  Hesione,"  1700  was  pro- 
of LBANDRO.  Add.  New  York  City,  duced  under  his  own  name  "  Tan- 
Campanella.  It.  gmall  bell.  crede,"  1702,  became  the  best  known 
Campanetta.  /*.  GLOCKENSPIEL,  of  his  works  (Mile.  Maupin,  con  sang 
Campanini  (Italo)  sang  ten.  in  the  r6le  of  the  heroine),  and  "  Les 
concert  and  opera  in  the  principal  Noces  de  Venus,"  1740,  was  the  last 
cities  of  Europe  and  in  America  (under  Campra  became  chapelmaster  to  the 


CANALI  97      CAKTEBBTJRY  PILGIIIMS 

^^£V/'"*^''°™P°^^'^  ^"^   cantatas,  by  symbols  or  monograms  are  Indi- 

motete,  and  a  mass     B   Dec   4,  1660,  eated  Canons  or  Eni|natical  Canons. 

^Q    iV^/™^^""^'    ^-  Versailles,  June  Canons  completely  written  out  were 

r»^«H       n       1    ^-B,     ■       .    ,  ''^^^^  ^"^'  or  Aperto  Canons.     Can- 

„,„.„  f    «'  ^"'^Jt^PfJi^'""^  F^^y^*^  °"^<^1  imitation  with  free  aceompani- 

organ  in  Brescia,  1581-1603,  and  com-  ment  is  frequently  to  be  met  with  in 

^"clx^-r^if   OK™,-.     ^  .^  classic  music,  but  Canons  Cancrizans, 

Canaries.     Obsolete  dance  of  Eng-  which  might  be  played  backward  and 

hsh   or    possibly   Spanish   origin,   re-  even  upside  down,  can  hardly  be  con- 

sembling  the  gigue  sidered   art,   however   interesting   for 

Cancan,     ii-r.     Vulgar  dance  devel-  their  display  of  ingenuity.    Thenomen- 

oped  from  the  quadrille.  clature  of  the  canon  may  be  continued 

Canonzans.      CANONS    by    retro-  by  adding  that  the  Sciolto  is  a  free 

gression  which  may  be  read  backward,  canon,  the  Chiuso  a  Close  Canon,  and 

Cannabicli    (Christian)    composed  the  Al  Sospiro  a  canon  where  the  sub- 

and    played    violin    but    was    chiefly  jeet  is  answered  the  second  beat  of  time. 


known  for  the  unusual  refinement  ob- 
tained  in   the   performances   he   con 


Canonici.      Followers    in    Ancient 
Greece    of   the    Pythagorean   musical 


ducted  of  the  Electoral  orchestra  at   system  as  opposed  to  Muaici,  who  ad- 


Mannheim  and  Munich.  B.  Mann- 
heim, 1731;  pupil  of  his  father,  a 
flautist;  d.  1798,  Frankfort.  Carl 
played  violin,  composed  and  succeeded 
his  father  CHRISTIAN  as  conductor. 
B.  Mannheim,  1769;  d.  Mar.  3,  1806. 
Canniciari  (Pompeo)  composed 
church  music  for  two  and  four  choirs ; 


hered  to  the  Aristoxenian  system. 
Cantabile.     It.     Singing  style. 
Cantadour.     Fr.     Street  singer. 
Cantambanco.     It.     Mountebank. 
Cantando.    It.    CANTABILE. 
Cantante.     It.    Singer;  voice-part. 
Cantare.    It.    To  sing. 
Cantare  a  Aria.    It.    Introducing 


directed    music    S.    Maria    Maggiore,    an  improvisation  in  singing. 


Rome,  from  1709  to  his  death,  Dec.  29, 
1744. 
Canon.     Or. 


Cantata.    It.    In  the  modern  sense 

is  either  a  short  oratorio  or  a  short 

Standard  or  rule."    opera  intended  to  be  given  in  concert 


Formal  imitation  in  music,  in  which  form.  After  the  invention  of  opera, 
the  first  part  or  subject  or  antecedent  which  was  an  attempt  to  revive  the 
is  repeated  in  the  answer  or  conse-  declamation  of  tragic  poems  in  the 
quent.  Canons  in  which  the  same  manner  of  the  ancients,  the  musical 
melody  is  sung  by  two  voices  an  oc-  declamation  of  verse  by  solo  voice 
tave  apart  are  called  Two  and  One^at  with  simple  accompaniment  was  styled 
the  octave;  when  concluded  are  Finite  cantata.  The  introduction  of  arias 
Canons,  but  when  leading  back  to  the  and  of  elaborate  accompaniment  fol- 
beginning,  and  therefore  capable  of  lowed,  and  a  cantata  by  Mozart,  1783, 
interminable  repetition,  are  termed  is  scored  for  three  solo  voices,  chorus. 
Circular  or  Infinite.  Where  two  and  orchestra.  Church  cantatas,  of 
canons  are  united  in  the  same  com-  which  BACH  left  many  fine  specimens, 
position  the  result  is  called  a  Four  are  often  elaborate  compositions. 
~  -  -  -  .  -  ...        Cantate  Domino.    The  98th  Psalm, 

which  may  be  sung  in  the  Anglican 
comes  a  canon  8  in  1.  A  canon  where  Church  evening  service  instead  of  the 
the  consequent  is  double  the  length  of   Magnificat. 


in  Two  canon,  and  if  there  are  eight 
parts  singing  the  same  theme  it  be- 


the  antecedent  is  a  Canon  by  Augmen-  Cantatilla  or  Cantatina. 
tation,  and  where  the  consequent  is  minutive  of  cantata, 
only  half  the  length  of  the  antecedent 
becomes  a  Canon  by  Diminution. 
Where  a  canon's  consequent  follows 
the  inverted  intervals  of  the  antece- 
dent it  is  a  Canon  by  Inversion. 
Canons  not  written  out  but  indicated 


It.    Di- 


Cantatore.      It.    Male  singer. 
Cantatorium.    L.    Song  book. 
Cantatrice.     It.    Female  singer. 
Cantellerando.    It.    Subdued  sing- 
ing;   trilling. 
Canterbury  Pilgrims.    C.  Villiers 


CASTTI  CABinVAIil  98  CAFELLlffiEISTEIl 

Stanford's  three-act  opera  to  book  by  dean's  stall,  known  therefore  as  the 

Gilbert  i.  Becket  was  first  performed  Decani  side. 

at  Drury  Lane,  London,  by  the  Carl  Canto    Secondo.     It.     Second   so- 

Bosa  Opera  Company.  prano. 

Canti    CarnlTali.      It.      Carnival  Cantus  Ambrosianus.     L.     AM- 

songs.  BROSIAN  CHANT. 

Cantici.    /*.    LAUDI.  Cantus    Coronatus.      L.      Melody 

Canticle.    Those  hymns,  psalms,  or  progressing   by   consonances   and   ac- 

verses  which  form  part  of  the  liturgy  companied  by  fa-burden, 

of  the  Anglican  Church.  Cantus   Surus.      L.     Song  modu- 

Canticum.      L.      "  Canticle."      In  lated  into  a  key  of  one  or  more  sharps. 

Latin  comedies  a  song  with  dancing  Cantus  Ecclesiasticus.    L.    Flain- 

and  accompaniment.  song  or  other  church  melodies ;  method 

Cantilena.       /*.       "  Little     song."  of  singing  instead  of  saying  the  liturgy. 

Short    vocal    composition    or    instru-  Cantus    Figuratus.      L.      Church 

mental  passage  in  song  style;    cantus  music  having  more  than  one  note  to 

firmus    in    unison,    with    organ    ac-  the  syllable,  which  was  forbidden  in 

companiment.  ancient  times. 

Cantilenare.      It.     Singing   unac-  Cantus  Firmus.    L.    Plain  unorn- 

companied.  amented  church  song  such  as  Pales- 

Cantillatio.    L.    Declamatory  sing-  trina    loved   to    glorify   by   elaborate 

ing  or  chanting.  contrapuntal    treatment,     in     which, 

Cantino.    /*.    A  violin's  E  string,  however,    the   melody   was    distinctly 

Cantique.    Fr.    Hymn  or  canticle,  preserved,  other  parts  moving  below 

Canto.   /*.  Upper  voice  part  in  con-  it  in  counterpoint  modeled  upon  it ; 

certed  music  which  carries  the  melody,  hence  the  upper  or  chief  melody  part 

Canto  a  Capella.  It.  Church  music,  in  polyphonic  works. 

Canto  Armonico.     /*.     Part  song.  Cantus    Fractus.       L.      "Broken 

Canto    Fermo.      It.      CANTUS  melody"  or  tune  proceeding  by  con- 

FIKMUS.  sonances,  either  perfect  or  imperfect. 

Canto    Figurato.      /*.      CANTUS  Cantus  Gregorianus.    L.    GREG- 

FIGURATUS.  ORIAN  CHANT. 

Canto  Gregoriano.     /*.     GREGO-  Cantus  Mensurabilis.     L.     Meas- 

RIAN  CHANT.  ured  song.     The  practice  of  dividing 

Canto  Llano.  Sp.  PLAIN  CHANT,  music  into  measures  of  equal  duration 

Canto  Piano.    It.   PLAIN  CHANT,  by  means  of  bars  seems  to  have  been  a 

Canto  Prime.    It.    First  soprano,  gradual  growth  of  the  14th  and  15th 

Cantor.      "  Precentor."     Officer   in  centuries   to'  which   many   musicians 

charge  of  music  at  Cathedral,  Mon-  contributed,  but  for  which  none  was 

astic,   or   Collegiate   churches;     prin-  solely  responsible. 

oipal  of  a  college  of  church  music ;  Cantus  Planus.   L.   PLAIN  SONG, 

heads  of  musical  institutions,  such  as  Cantus  Bomanus.     L.     Roman  or 

the  LEIPSIC  THOMASSCHULB.  Gregorian  chant. 

Cantor  Choralis.     L.     Chorus-  Canun.     Turkish  zither, 

master.            _      _  Canzona.     /*.     Short  song,   some- 

_  Canto  Becitativo.     It.     Declama-  what  like  the  madrigal  or  its  instru- 

tion;    recitative.  mental  imitation;    obsolete  term  for 

Canto  Bipiendo.     It.     Additional  sonata ;  obsolete  time  indication  equiv- 

soprano  parts  for  chorus.  alent  to  allegro. 

Cantoris.    In  cathedrals  where  an-  Canzonet     or     Canzonetta.       It. 

tiphonal   singing   was   practiced,    the  Originally   a   diminutive    canzona   in 

pr.ecentor   or  cantor  usually  had  his  parts;    term  for  short  songs  of  light 

stall  on  the  north  side  of  the  choir  order. 

facing  the  altar,  and  this  was  called  Canzoniere.  It.  Lyric  verse  or  song, 

the  Cantoris  side,  as  opposed  to  that  Caoinan.   Irish  funeral  song  or  wail, 

on   the   south   side   where    stood   the  Capellmeister.      Ger.     Chapelmas- 


CAPISCOLUS  99  CAHEY 

ter;    director  of  music  in  a  chapel  or   London,  1822  to  1846.  B.  Milan,  1800; 
church  or  title  of  honor.  daughter   of   Col.   Baron   de   Munck; 

Caplscolus.     Precentor.  d.  Oct.  15,  1865. 

Capo.    It.    Head  or  beginning.  Carafa    di    Colobrano    (Michele 

Capo,  da.  It.  Indicates  return  to  Enrico)  composed  35  operas,  some  of 
beginning.  which  rivalled  those  of  Rossini  and 

Capocci(Gaetailo) composed  church  Auber  in  popularity,  such  as  "La 
music  and  directed  and  played  organ  Fiancee  de  Lammermoor,"  "Masani- 
at  St.  John  Lateran,  Rome.  B.  Oct.  ello,"  "Le  Solitaire";  taught  com- 
16,  1811;  d.  Jan.  11,  1898.  Eilippo  position  at  Paris  Conservatoire;  of- 
became  director  of  music  at  St.  John  ficer  under  Murat,  decorated  by  Na- 
Lateran  in  succession  to  his  father  poleon  in  1812.  B.  Nov.  17,  1787, 
GAETANO;  composed  sonatas,  etc.;  Naples;  d.  Paris,  July  26,  1872. 
pupil  of  his  father  and  of  GUIL-  Caral.  Old  English  for  CAROL. 
MANT.  B.  Rome,  May  11,  1840;  add.  Caraterre.  It.  Character;  dignity. 
Rome.  Cardon    (Louis)    wrote    "Art    de 

Caporale  (Andrea)  composed  for  jouer  la  harpe  "  and  played  harp  ad- 
'cello  and  played  'cello  in  London  mirably.  B.  Paris,  1747;  d.  Russia, 
1735  to  his  death,  about  1756.  1805.     Pierre  played  'cello  and  sang. 

Capotasto.  It.  Bar  crossing  the  B.  Paris,  1751;  brother  of  LOUIS, 
fingerboard  of  a  guitar  to  which  it  Cardoso  (Hanuel)  composed  church 
may  be  fastened  by  a  screw,  forming  music;  sub-prior  and  chapelmaster  of 
a  permanent  GRANDE  BARRfi,  rais-  Carmelites  at  Lisbon  and  friend  of 
ing  the  pitch  of  the  strings  and  alter-  King  John  IV.  B.  Fronteira,  Spain, 
ing  the  key.  1569 ;    d.  Lisbon,  Nov.  29,  1650. 

Capoul  (Joseph.  Victor  Amgdee)  Caresana  (Christoforo)  composed 
sang  ten.  rSles  in  opera;  debut  Paris  solfeggi,  church  and  chamber  music; 
Op€ra  Comique,  1861  to  1889,  when  played  organ  at  Naples.  B.  Tarentum, 
he  joined  administrative  staff  of  Paris  1655 ;  d.  Naples,  1730. 
Op6ra.  B.  Feb.  27,  1839,  Toulouse;  Carestini  (Giovanni)  became  the 
add.  Paris.  greatest  con.  singer  of  his  day;  debut 

Capriccietto.     It.     Little  caprice,     in     Bononcini's     "  Griselda,"     Rome, 

Capriccio.  /*.  Originally  a  lively  1721;  Handel's  principal  singer  dur- 
whimsical  composition  in  fugal  style;  ing  London  engagement  of  FARIN- 
in  the  18th  century  instrumental  ELLI  at  Bononcini's  rival  opera  house, 
pieces  which  would  now  be  styled  range  from  d  to  g";  retired  1758  on 
etudes ;  in  the  modem  sense  generally  concluding  engagement  at  St.  Peters- 
a  composition  in  modified  rondo  or  burg.  B.  Monte  Filatrano,  Ancona, 
sonata  form.  1705;     assumed    name    Cusanino    in 

Capuletti    e    i    Montecchi.      Vin-   gratitude    to    his   early    patrons    the 
ccnzo  Bellini's  three-act  opera  to  book   Cusani  of  Milan, 
by   Romani,   founded  on   Romeo   and       Carey    (Henry)    composed   "  Sally 
Juliette,  was  first  performed  at  Venice,   in   our   Alley  "   and   numerous   other 
Mar.  12,  1830.  songs  and  cantatas,  for  which  he  wrote 

Caraccio  (Giovanni)  composed  the  verses  as  well,  possibly  including 
church  music  and  madrigals;  one  of  "God  Save  the  King";  wrote  and 
14  composers  who  collaborated  in  vol-  composed  quantities  of  dramatic  farces 
ume  of  psalms  dedicated  to  Pales-  and  burlesques,  among  them  "  Chro- 
trina;  played  organ  at  S.  Maria  Mag-  nonhotonthologos,"  "The  Dragon  of 
giore,  Rome,  and  directed  23  years,  Wantley,"  and  "Nancy,"  revived  as 
until  his  death,  1626.     B.  Bergamo.      "  The  Press  Gang  "  and  "  True  Blue." 

Caracteres  de  Musique.  Pr.  Char-  B.  about  1690;  son  of  George  Saville, 
aeters  or  signs  used  in  musical  NO-  Marquis  of  Halifax;  d.  London,  Oct. 
TATION.  4.    1743.     George    Savile   sang_  and 

Caradori- Allan  (Maria  C.  B.)  acted;  advanced  his  father's  claim  to 
sang  sop.  in  opera  and  concert,  debut   the    authorship    of    "  God    Save    the 


CABEZZAITDO 


100 


CAKIdEIT 


King  " ;  father  of  Anne,  who  was  Ed- 
mund Kean's  mother.  B.  1743;  son 
of  HBNEY;  d.  1807. 
Carezzando.  It.  Caressingly. 
Caricato.  It.  Exaggerated. 
Carillon.  Fixed  BELLS,  which  may- 
be played  by  hand  or  by  one  of  miiny 
mechanical  appliances,  the  most  com- 
mon of  which  is  a  barrel  on  the  prin- 
ciple of  the  music  box  and  BARREL 
ORGAN.  Illustrations  representing 
small  carillons  played  by  hand  are 
common  in  mediaeval  church  books, 
but  large  carillons,  such  as  may  be 
found  in  the  steeples  of  churches  or 
town  halls  in  almost  every  city,  first 
came  into  use  in  the  Low  Countries. 
Mathias  van  den  Gheyn,  b.  Mechlin, 
1721,  but  settled  in  Louvain,  from 
whom  is  descended  the  present  Van 
Aerscholdt  family  of  bell  founders, 
was  among  the  earliest  of  great  caril- 
lon makers  and  players  or  carillon- 
neurs.  Mechlin  has  a  carillon  of  45 
bells,  the  largest,  cast  by  Aerscholdt, 
1844,  weighing  nearly  10  tons;  Ghent 
has  a  carillon  of  48  bells;  Antwerp 
of  40  bells;    Bruges,  48  bells,  etc. 

Carlo  (Tohanii  Heinrich)  improved 
and  played  trumpet.  B.  Eokernforde, 
Holstein,  1736. 

Carissimi  (Giacomo)  composed  ora- 
torios, developed  the  sacred  cantata, 
directed  music  at  S.  Apollinare,  Rome, 
1628  to  his  death,  Jan.  12,  1674; 
taught  Bononcini,  Scarlatti,  Cesti.  B. 
Marino,  near  Rome,  1604. 

Carita,  con.  "/*.  With  tenderness. 
Carl  (William  Crane)  played  organ 
in  concert  and  at  1st  Pres.  Church, 
New  York  City;  taught;  pupil  of 
Guilmant.  B.  Bloomfield,  N.  J.,  Mar. 
2,  1865;    add.  New  York  City. 

Carlo  (Geronimo)  edited  collection 
of  five-part  motets,  published  as  "  Mo- 
tetti  del  Labirinto,"  Venice,  1554-55. 

Carlton  (Kev.  Bichard)  composed 
madrigals;  priest  at  Norwich  Cathe- 
dral;   d.  about  1638. 

Carmagnole.  French  Revolution- 
ary song  beginning  "  Madame  Veto 
avait  promis,"  and  with  the  refrain, 
"  Dansons  la  carmagnole,  vive  le  son 
du  canon." 

Carmen.  Georges  Bizet's  four-act 
opera  to  book  by  Meilhac  and  Halfivy, 


based  on  Prosper  Merimfe's  story,  was 
produced  Mar.  3,  1875,  at  the  Op€ra 
Comique,  Paris,  and  ranks  with  the 
most  popular  in  modern  repertoire. 
The  first  act  represents  a  square  in 
Seville,  the  cigarette  factory  to  the 
right,  to  the  left  a  guardhouse. 
Miehaela  enters  seeking  Don  Jos6,  for 
whom  she  bears  a  message  from  his 
mother,  but  only  sees  Morales,  for  the 
Brigadier  Don  Jos6  and  his  officer, 
Zuniga,  are  in  command  of  the  guard. 
Presently  the  guard  is  relieved  and 
the  girls  rush  from  the  factory  as 
noon  strikes,  followed  by  Carmen,  who 
flirts  with  the  men,  and  as  she  re- 
enters the  factory,  tosses  a  flower  to 
Jos6.  Then  Miehaela  returns,  gives 
Jos6  a  letter,  money,  and  his  mother's 
kiss,  and  he  sends  her  home  with  lov- 
ing messages,  just  as  a  riot  breaks 
out  in  the  factory.  Carmen,  in  a  fit 
of  rage,  has  stabbed  a  girl,  is  arrested, 
and  has  her  arms  tied  to  prevent  fur- 
ther mischief.  Left  alone  with  Jos6, 
Carmen  pleads  for  her  release  most 
seductively.  He  finally  unties  her 
hands,  agrees  to  meet  her  at  the  house 
of  Lillas-Pastia,  and  connives  at  her 
escape.  Punished  for  his  fault,  Josfi 
finds  her  two  months  later  at  Lillas- 
Pastia's,  where  she  has  been  making 
merry  with  his  superior  Zuniga,  a 
band  of  gipsy  smugglers,  and  the 
toreador  Escamillo.  Carmen  coquets 
with  him,  and  urges  him  to  run  away 
with  her  and  join  the  smugglers. 
Zuniga  returns,  orders  Jos6  back  to  the 
barracks,  reproaching  Carmen  for  pre- 
ferring a  mere  brigadier  to  an  officer. 
Josg  denounces  his  superior,  and  they 
are  about  to  fight,  when  the  gipsies 
disarm  and  bind  Zuniga,  and  Jos6  pre- 
fers joining  them  with .  Carmen  to 
another  term  in  military  prison.  The 
third  act  represents  a  smuggler's  camp. 
Carmen  has  tired  of  Jos6,  and  wishes 
to  rejoin  the  toreador.  She  runs  the 
cards,  finding  her  death  foreshadowed. 
Escamillo,  who  has  found  her  retreat, 
comes  to  claim  her,  but  is  obliged  to 
fight  Josg.  They  are  separated  by  the 
gipsies,  and  Escamillo  leaves,  inviting 
Carmen  to  meet  him  at  the  bull  fight 
in  Seville.  Miehaela  comes,  telling 
Josg  that  his  mother  is  dying  of  grief. 


CARMEN  101  CABBENO 

and  they  go  away  together  as  the  conducted  opera  at  Barcelona  and 
toreador's  song  is  heard  in  the  dis-  Madrid;  taught  composition  in  Ma- 
tance.  The  fourth  act  shows  the  en-  drid  Conservatory.  B.  Oct.  24,  1789, 
trance  to  the  Seville  bull- ring.  A  Lerida,  Catalonia;  d.  Madrid,  Mar. 
crowd  escorts  Escamillo  through  the    17,  1855. 

gates,  but  as  Carmen  is  about  to  enter,  Carol.  Song  of  praise  appropriate 
Jos6  stops  her.  Though  warned  by  to  Christmas,  midway  in  style  between 
her  gipsy  friend  Frasquita  that  Jos6  hymns  and  ballads ;  anciently  song  ac- 
will  kill  her,  she  has  no  fear,  and  only  companying  a  round  dance  or  the 
laughs  when  he  pleads  his  love  and  dance  itself;  to  sing, 
finally  threatens  her.  Shouts  from  the  Caron  (Philippe)  composed  secular 
bull-ring  announce  that  Escamillo  has  soBigs  and  church  music;  Cambrai, 
again   been   victorious,   and   Carmen,    15th  century. 

with  a  cry  of  joy,  moves  toward  the  Caron  (Bose  Lucille)  sang  sop.  in 
entrance,  throwing  at  Jos6  a  ring  he  opera  and  concert;  debut  Brussels, 
had  given  her.  In  despair  and  rage,  1882,  where  she  created  the  Brunhilde 
he  stabs  her,  and  Escamillo,  returning  of  Ernst  Beyer's  "  Sigurd,"  to  1902, 
from  the  arena  with  an  admiring  when  she  became  vocal  teacher  in  the 
throng,  finds  Jos6  kneeling  beside  Car-  Paris  Conservatoire.  B.  Monerville, 
men's  corpse.  At  the  first  production  France,  Nov.  17,  1857;  add.  Paris. 
Mme.  Galli-Marie  sang  the  title  r61e,  Caroso  (Pabritio)  wrote  "  II  Bal- 
and  the  Michaela  was  Mile.  Chapuy.  larino,"  Venice,  1581;  republished  in 
The  principal  music  numbers  are:  enlarged  form,  Venice,  1600,  as  "No- 
Act  I :  the  old  Habanera  "  Amor,  mis-  bilita  di  Dame,"  containing  the  music 
terioso  angelo,"  Carmen,  mez.  sop.;  of  dances  in  lute-tablature. 
"La  madretua  con  me," Michaela,  sop.;  Carpaui  (Giuseppe)  wrote  libretti 
"  Mia  madre  io  la  rivedo,"  Don  Jos6,  and  "  Haydine,"  an  appreciation  of  hia 
ten. ;  the  seguidilla  "  Presso  il  bastion  friend  Haydn.  B.  Villalbese,  Brianza, 
di  Seviglia,"  Carmen;  Act  11:  "  Vezzi  Jan.  28,  1752;  d.  Vienna,  Jan.  22, 
eanella  scintillar," Carmen  and  chorus;    1825. 

"Toreador,  attento,"  Escamillo,  bar.;  Carpentras  or  Carpentrasso. 
"  Abbiamo  in  vista,"  quintet;  "Voglio  Eleazar  GENET  was  so  called  from 
danzar  per  tuo  piacer,"  Carmen;  "II  his  place  of  birth, 
flor  che  avevi,"  Don  Josfi;  Act  III:  Carr  (Dr.  Frank  Osmond)  com- 
"Mischiam!  alziam!  "  terzetto;  "Lo  posed  "His  Excellency,"  1894,  to 
dico  no,  non  son  paurosa,"  Michaela;  libretto  by  W.  S.  Gilbert;  and  other 
Act  IV:    Toreador's  march.  dramatic  pieces.    B.  about  1857,  York- 

Canuen    (Johannes)    composed   in   shire,  Eng. 
Paris,  15th  century.  Carr    (John)    published    music    in 

Camaby  (Dr.  William)  composed   London,  17th  century, 
songs,    played    organ,    sang    in    Eng.       Carre  (Albert)  became  director  of 
Chapel  Royal.     B.  London,   1772;    d.   the  Paris  Op6ra  Comique,  1898,  from 
Nov.  13,  1839..  which  he  retired  at  the  close  of  the 

Carnaval  de  Venise.  Tune  of  un-  season  1907-8,  after  a  very  successful 
known  origin  first  made  famous  by  the  administration,  to  become  director  of 
celebrated  variations  written  for  it  by  the  Comgdie  Francaise,  when  it  was 
Paganini,  who  first  heard  it  in  Venice,    rumoured  that  his  successor  would  be 

Carneval.  Robert  Schumann's  21  M.  Ghensi.  B.  June  22,  1852;  add. 
piano  pieces,  each  with  a  title  sugges-   Paris. 

tive  of  a  carnival  scene,  were  published  Carreno  (Teresa)  composed  the  na- 
as  Op.  9,  and  dedicated  to  Carl  Lipin-  tional  hymn  of  Venezuela;  ranked  as 
ski   1837.  tli6  foremost  pianist  of  her  sex  since 

Camicer  (Ramon)  composed  nine  retirement  of  Clara  Wieck  Schumann; 
operas,  including  "  Adela  de  Lusig-  conducted  and  sang  in  opera.  Pupil 
nano,"  "  Elena  e  Malvino,"  and  "  Co-  first  of  her  father,  the  Minister  of 
lombo,"    symphonies,    church    music;    Finance    of    Venezuela,    later    of    L. 


CABBODTTS 


103 


CASTANETS 


Gottsehalk,  New  York,  Mathias  in 
Paris,  and  Rubinstein;  she  played  in 
public  in  New  York  at  nine,  and 
toured  the  United  States;  later  sang 
in  opera  under  Mapleson  and  Maurice 
Strakosch;  m.  B.  Sauret,  then  Grio- 
vanno  Tagliapietra,  then  Eugen  d' Al- 
bert, 1892-95;  then  Arturo  Taglia- 
pietra, brother  of  her  second  husband, 
1902.  B.  Caracas,  Dee.  22,  1853 ;  add. 
Caracas. 

Carrodus  (John  Tiplady)  com- 
posed for  and  played  violin.  B.  York- 
shire, Eng.,  Jan.  20,  1836;  d.  July  13, 
1895. 

Cartel.     Sketch  of  a  score. 

Cartellone.  It.  Prospectus  of 
opera  season. 

Carter  (Thomas)  composed  popu- 
lar songs,  "  O  Nancy  wilt  thou  fly 
with  me  "  and  "  Guardian  Angels,"  six 
sonatas  for  harpsichord ;  played  organ. 
B.  1734,  Dublin.  Sampson  composed 
songs  and  such  dramatic  pieces  as 
"The  Fair  American,"  1782;  "The 
Constant  Maid,"  and  the  comic  opera, 
"Just  in  Time,"  1792.  B.  Dublin; 
elder  brother  of  THOMAS;  d.  Oct. 
16,  1804,  London. 

Carter  (Thomas)  composed  songs 
and  dramatic  pieces;  directed  music 
in  Calcutta  Theatre.  B.  Dublin,  1769 ; 
d.  London,  Nov.  8,  1800. 

Cartier  (Jean  Baptiste)  wrote  on, 
composed  for,  and  played  violin.  B. 
May  28,  1765,  Avignon;  d.  Paris,  1841. 

Carulli  (Ferdinando)  wrote  a 
"  Methode  "  for  guitar,  became  famous 
guitarist,  and  composed  300  guitar 
pieces;  wrote  "Harmonie  appliquge 
a  la  Guitare,"  Paris,  1825.  B.  Naples, 
Feb.  10,  1770;   d.  Paris,  1841. 

Caruso  (Enrico)  sang  ten.  in  opera 
at  Covent  Garden,  Londpn,  and  Metro- 
politan Opera  House,  New  York, 
1905-8,  having  previously  toured 
South  America  and  sung  in  principal 
Italian  cities ;  possessed  voice  of  wide 
compass  and  great  power,  with  ex- 
tensive Italian  repertoire.  In  June, 
1908,  he  was  made  Chevalier  of  the 
Legion  of  Honor.  B.  Naples,  1874; 
add.  Villa  alle  Pauchi,  Porta  San 
Gallo,  Naples. 

Caruso  (Luigi)  composed  60  operas, 
including   "  II   Barone    di   Trocchia," 


"  Artaserae,"  and  "  L'Avviso  ai  Mari- 
tati  " ;  oratorios  and  cantatas.  B.  Nar 
pies,  Sept.  25,  1754;   d.  Perugia,  1822. 

Carvaille  (Leon)  managed  the 
Paris  Op6ra  Comique  from  1876  until 
its  destruction  by  fire.  May  25,  1887 ; 
fined  and  imprisoned  for  failing  to 
take  precautionary  measures;  suc- 
ceeded by  M.  Paravey,  1888.  B.  1825 ; 
pupil  of  Paris  Conservatoire;  d.  Dec. 
26,  1897. 

Carvalho  (ItCarie  Caroline  Felix) 
sang  sop.  in  opera,  debut  in  1849  to 
1872,  and  in  concert  until  1887,  rank- 
ing as  the  foremost  of  French  women 
singers  for  nearly  a  generation;  pupil 
of  her  father  Felix  Miolan,  the  oboist, 
and  of  Duprez  at  the  Conservatoire. 
B.  Marseilles,  Dec.  31,  1827;  d.  July 
10,  1895. 

Cary  (Annie  liouise)  sang  con.  in 
opera  and  concert,  1868  to  1882;  Lon- 
don, New  York,  St.  Petersburg;  pupil 
of  J.  Q.  Wetherbee  and  Lyman  Wheeler, 
Boston,  Corsi,  Milan,  and  Maurice 
Strakosch,  under  whose  management 
she  won  her  greatest  success.  B. 
Wayne,  Me.,  Oct.  22,  1842 ;  m.  Charles 
M.  Raymond,  1882,  and  retired;  add. 
New  York  City. 

Casali  (Giovanni  Battista)  com- 
posed church  music  and  the  operas 
"Campasbe,"  1740,  and  "Antigone," 
1752;  chapelmaster  at  St.  John's 
Lateran,  Rome,  1759,  to  his  death, 
17«2. 

Case  (John)  wrote  "  The  Praise  of 
Musicke,"  1586.  B.  Woodstock,  Eng. ; 
d.  Jan.  23,  1599. 

Casentini  (Signora)  sang  in  Lon- 
don opera,  1791  to  1793. 

Casini  (Giovanni  Maria)  com- 
posed two  oratorios  and  church  music; 
played  organ  Florence  Cathedral;  op- 
posed equal  temperament  and  favoured 
the  Greek  modes.    B.  Florence,  1675. 

Cassagrande.    /*.    Bass  drum. 

Cassation.  18th  century  music  for 
open  air  performance. 

Cassel  (Guillaume)  taught  sing- 
ing at  Brussels  Conservatory.  B. 
Lyons,  1794;    d.  Brussels,  1836. 

Castanets.  Percussion  instruments 
consisting  of  small  shells  of  hard  wood 
hinged  together,  held  in  the  hand  and 
snapped  together.     As  an  accompani- 


CASTELLAN  103  CATEL 

ment   for   dancing   it    is   popular    in   the  world  from  her  debut  at   16  in 

^C^.tJi^'^fl  "*  ^°  a"'^-  s^^-     y^'^^'    "»«'    ""It"    her    retirement" 

Castellan    (Jeanne    Anais)    sang   1828;    possessed  a  range  up  to  e'" 

sop    in   opera   and   concert,    1836   to   and  a  facility  in  bravufa  singing  un- 

1859^   touring   Europe   and   America,    surpassed;   sang  with  great  success  in 

all  European   music  centres,   and   in 
the  single  year   1807   earned  $83,500 
by  her  English  operatic  and  concert 
-^     •,,-,.  —     engagements.     In   1804,   Catalani   m. 

gemeiner     Musikabscher     Anzeiger,"   Valabrfigue,  of  the  French  diplomatic 
K\no^A°^  ^-  Vienna,  Mar.    service,  who  saw  to  it  that  her  con- 

^    :-'ii  '  ^'  ^^^^'  *™''*^  ^^^^  managers  were  of  the  best, 

Castillon,  de  (Alexis  Vicomte  de  rigidly  enforced,  and  spent  the  greater 
St.  Victor)  composed  the  overture  part  of  her  enormous  earnings.  The 
"Torquato  Tasso,"  Psalm  Ixxxiv  for  keenness  of  his  dealings  in  business 
soli,  chorus,  and  orchestra,  "  Equisses  did  not  prevent  her  from  giving  her 
symphoniques,"  "Marche  Scandinave,"    services  freely  to  charities,  and  it  has 


B.   Oct.    26,    1819,    Beaujeu,    France; 
pupil  of  the  Paris  Conservatoire. 

Castelli     (Ignaz     Franz)     wrote 
libretti  and  edited  the  Vienna  "AU- 


and  chamber  music;  pupil  of  Mass€ 
and  of  Cesar  Franck.  B.  Chartres, 
France,  Dec.  13,  1838;  d.  Mar.  5, 
1873,   Paris. 

Castrati.  It.  Eunuchs  or  artifi- 
cial male  sopranos  and  contraltos. 

Castro,  de  (Jean)  composed  church 
music,  madrigals,  and  chansons;  vice 
chapelmaster  at  Vienna,  1588.  B. 
Evreux. 

Castro  (Ricardo)  was  director  gen- 
eral of  the  Mexican  National  Conser- 
vatory of  Music,  where  he  had  re- 
ceived his  musical  education,  and  in 
turn  became  an  instructor.  An  ac- 
complished pianist,  his  friends  raised 
a  fund  which  enabled  him  to  study  in 
Europe  for  four  years,  and  on  his  re- 
turn he  produced  his  opera,  "  Legend 
of  Rudel,"  with  such  great  success 
that  he  was  instantly  hailed  as  the 
foremost  Mexican  composer.  B.  Mex- 
ico, 1877;    d.  Mexico  City,  Nov.,  1907. 

Castrucci  (Petro)  played  first  vio- 
lin in  Handel's  London  opera  orches- 
tra, composed  for  that  instrument,  and 
invented  the  VIOLETTA  MARINA. 
B.  Rome,  1689;  pupil  of  Corelli;  d. 
Dublin  about  1769. 

Catalani  (Alfreddo)  composed  the 
operas  "  Elda,"  1883;  "  Dejanice," 
"Ero  e  Leandro,"  "Edmea,"  1886; 
"Loreley,"  1890;  "La  Wally,"  1892; 
wrote  a  mass  at  14.  B.  Lucca,  June 
19,  1854;  pupil  of  his  father,  a  church 
organist,  and  of  the  Paris  Conserva- 
toire;   d.  Aug.  7,  1893,  Milan. 

Catalani  (Angelica)  ranked  as  the 
greatest  concert  and  operatic  sop.  in 


been  estimated  that  she  raised  2,000,- 
000  francs  for  charity  by  her  concerts. 
In  1814  Catalani  was  given  a  sub- 
vention of  160,000  francs  to  manage 
the  Italian  opera  in  Paris,  but  was 
unsuccessful.  Her  last  appearance  in 
public  took  place  at  the  York  Festi- 
val, 1828,  after  which  she  retired  to 
a  villa  near  Florence,  where  she  es- 
tablished a  singing  school  for  girls. 
B.  Sinigaglia,  Italy,  May  10,  1780; 
d.  Paris,  June  12,  1849. 

Catch..  Canon  or  round  for  three 
or  more  voices  in  which  each  singer 
took  up  his  part  or  "  catch  "  in  such 
a,  way  as  to  give  new  meaning  to  the 
cue  or  catch  word.  These  musical 
trifles  were  in  great  favor  in  England 
in  the  17th  and  18th  centuries. 

Catch  Club  was  founded  in  Lon- 
don, 1761,  to  encourage  the  composi- 
tion and  performances  of  canons, 
catches,  and  glees,  and  of  late  years 
has  held  semi-monthly  meetings  dur- 
ing the  season.  The  non-professional 
members  have  included  distinguished 
gentlemen,  nobles,  and  members  of  the 
royal  family,  and  among  the  profes- 
sional members  have  been:  Beard, 
Battishill,  Arne,  Hayes,  Atterbury, 
Paxton,  Webbe,  Piozzi,  Knyvett,  Stev- 
ens, Callcott,  Danby,  Greatorex,  Bar- 
tleman,  Cooke,  Horsley,  Goss,  Walm- 
isley,  and  Turle. 

Catel  (Charles  Simon)  composed 
the  operas  "Semiramis,"  1802;  "L'Au- 
berge  de  Bagnfires,"  1807;  "Les  Baya- 
derSs,"  1810;  symphonies  and  chamber 
music,    and    much    of    the    military 


CATELANI                     104  CAVALIEBI 

music    played   by   the    bands    of    the  Bunn,   was   first   performed   May  27, 

French  revolutionary  armies  j    became  1837,  at  Drury  Lane,  London,  Balfe 

professor  of  composition  at  the  Con-  being  one  of  the  caste, 

servatoire  on  its  establishment,  1795;  Catley  (Anne)  sang  sop.  in  light 

wrote  a  valuable  treatise  on  harmony.  English    opera    with    great    success; 

B.  L'Aigle,  Orne,  June   10,  1773;    d.  debut  Covent  Garden,  London,  1762; 

Nov.  29,  1830,  Paris.  retired  1784.     B.  London,   1745;    m. 

Catelani  (Angelo)  composed  operas  General  Lascelles;    d.  Oct.  14,  1789. 

and  wrote  on  musical  history  and  biog-  Catling.     Smallest  of  lute-strings, 

raphy;    chapelmaster  and  librarian  at  Cauda.    L.    Tail  of  a  note. 

Modena.     B.  Mar.  30,  1811;    d.  Sept.  Caurroy,  du  (Frangois  Eustache) 

5,  1866.  composed    mass    long    sung    at    the 

Catena  di  Trilli.     It.     Succession  funerals  of  French  kings,  songs;    was 

of  trills.  Sieur   de   St.   Frfimen,   canon  of   Ste. 

Caters.    Changes  rung  on  nine  bells.  Chapelle   and  prior  of   St.   Aioul  de 

Catgut  is  never  made  into  strings  Provins,    and    "  Surintendant    de    la 

of     musical     instruments,     but     the  Musique  de  Eoi,"  1599.     B.  Gerberoy 

strings  so  called  are  made  from  the  near  Beauvais,  1549;    d.  Aug.  7,  1609, 

intestines  of  sheep  or  horses.  Paris. 

Cathedral  Music  in  the  Anglican  Causton     (Thomas)     composed 

church  was  originally  an  adaptation  church  music  and  sang  Bng.  Chapel 

of  the  Roman  liturgical  music  as  it  Royal;     15th  century, 

had  been  sung  in  Sarum  Cathedral.  Oavaccio    (Giovanni)    composed 

Archbishop    Cranmer    is    believed    to  church  music;    directed  music  in  Ber- 

have  made  the  first  adaptation  of  the  gamo  Cathedral.     B.  Bergamo,  1556; 

Litany,   and  to   have   authorized   the  d.  Aug.  11,  1626. 

plain    song   to    which   it   was   to   be  Cavaille-Col    (Aristide)    built   or- 

chanted,     and     in    John    Marbecke's  gans  and  was  first  to  employ  Barker's 

"  Book    of    Common    Praier    noted,"  pneumatic  lever.    B.  Montpellier,  Feb. 

1550,  is  a  further  musical  adaptation  2,  1811,  descended  of  family  of  organ 

of  the  Roman  services.     Henry  VIII's  builders;    d.  Paris,  1886. 

Commissioners  directed  that  the  ser-  Cavaletto.     It.     Cabaletta;    small 

vice  be  sung  in  a  "  plain,  distinct  and  bridge ;   break  between  vocal  registers, 

audible    manner " ;     the    singing    or  Cavalieri,  del  (Emilio)  was  among 

chanting    of    the    liturgy   is    further  the  first  to  write  instrumental  accom- 

authorized   by   rubric   in   the   Prayer  paniments    and    to     employ    BASSO 

Book  of  Edward  VI,  and  the  use  of  CONTINUO;    composed  "La  Rappre- 

song  in  church  service  was  enjoined  sentazione  di  Anima  e  di  Corpo,"  "  II 

again  by  Elizabeth  in  the  first  year  Satiro,"    and   other    operas;     became 

of  her  reign,  1559,  who  specified  that  "  Inspector  General  of  Artists  at  Flor- 

"the  same  may  be  as  playnely  under-  ence."    B.  Rome  about  1550;    d.  Mar. 

standed  as   if   it   were   read   without  11,  1602. 

syngynge."  During  the  Common;  Cavalieri  (Eatherina)  sang  sop.  in 
wealth  the  simplest  form  of  psalm  Vienna  opera,  debut  at  14  in  1775; 
singing  was  encouraged,  but  the  or-  retired  1793;  created  the  rSle  of  Con- 
nate musical  accompaniment  of  wor-  stance  in  "Entfuhrung,"  which  Mozart 
ship  was  abolished.  In  1660  music  composed  for  her;  favourite  pupil  of 
was  restored  to  the  church  service  by  Salieri,  who  also  composed  for  her. 
Charles  II,  but  the  communion  ser-  B.  Vienna,  1761 ;  d.  June  30,  1801. 
vice  was  said,  not  sung,  and  Cathedral  Cavalieri  (Lina)  sang  sop.  in 
Music  was  neglected  until  1840,  since  opera,  debut  in  "  Pagliacci,"  Lisbon, 
which  time  there  has  been  a  return  1900;  in  Naples,  Warsaw,  Metropoli- 
to  full  choral  service,  including  chant-  tan  Opera,  New  York,  and  Covent 
ingof  the  communion.  Garden,  London;  in  earlier  life  favour- 
Catherine  Grey.  Michael  William  ite  in  cafes  chantant.  B.  Dec.  24, 
Balfe's   three-act   opera,   to   book   by  1874,  Rome. 


CAVALLEBIA 


105 


U   BABiBjS 


Cavalleria  Busticana.  Pietro 
Mascagni's  one-act  opera,  to  book  by 
G.  Targioni-Tozzetti  and  G.  Menasci, 
based  on  a  tale  by  Verga,  won  the 
prize  offered  by  the  publisher  Son- 
zogo,  and  was  first  performed  May  17, 
1890,  at  Rome,  with  immediate  suc- 
cess. This  drama  of  "rustic  chivalry" 
is  laid  in  a  Sicilian  village  to  which 
Turridu,  a  young  peasant,  returns 
after  his  service  in  the  army.  In  his 
absence  Alfio,  the  carrier,  has  married 
Lola,  with  whom  Turridu  was  in  love, 
and  he  consoles  himself  by  playing 
the  gallant  to  Santuzza.  Lola  again 
ensnares  him,  however,  and  his  love 
for  her  is  expressed  in  a  beautiful 
Siciliana  which  is  introduced  in  the 
overture.  The  rising  curtain  discloses 
a  public  square.  Santuzza  comes  to 
the  cottage  of  Lucia  in  search  of  her 
faithless  lover,  and  is  told  that  Tur- 
ridu has  gone  to  Francofonte.  Alfio 
comes  in  cracking  his  whip,  singing 
the  joys  of  the  road  and  the  fidelity 
of  his  wife  Lola,  and  asks  for  wine. 
Lucia  tells  him  that  Turridu  has  gone 
to  the  next  village  to  buy  some,  but 
Alfio  remembers  to  have  seen  him  near 
his  own  cottage.  Just  then  the  Easter 
hymn  is  begun  in  the  church,  and  the 
peasantry  enter,  leaving  Lucia  and 
Santuzza  alone.  The  girl  tells  Tur- 
ridu's  mother  that  she  has  been  be- 
trayed. Later,  as  Lucia  enters  the 
church,  Turridu  appears,  and  San- 
tuzza pleads  with  him  to  fulfil  his 
promise  of  marriage,  but  he  refuses. 
Lola  is  heard  singing  in  the  distance, 
and  when  she  enters  she  taunts  San- 
tuzza while  coquetting  with  Turridu. 
She  too  goes  into  the  church,  and 
Turridu,  throwing  Santuzza,  who  tries 
to  detain  him,  to  the  ground,  follows. 
Then  Santuzza,  mad  with  jealousy  and 
despair,  tells  Alfio  that  Lola  has  de- 
ceived him,  and  he  vows  vengeance. 
After  a  beautiful  intermezzo  the  ac- 
tion is  resumed.  The  people  are  leav- 
ing church,  and  Turridu  invites  his 
friends  to  join  him  in  some  wine. 
Alfio  refuses,  and  then  comes  a,  chal- 
lenge in  Sicilian  fashion,  Turridu  bit- 
ing Alfio's  ear.  Turridu  repents  his 
folly,  bids  farewell  to  his  mother,  to 
whom    he    commends    Santuzza,    and 


rushes  oflf  to  join  Alfio  in  combat.  A 
few  moments  later  the  peasants  an- 
nounce that  Alfio  has  killed  him.  The 
principal  musical  numbers  are  the 
Siciliana  "  0  Lola,  c'hai  di  latti,"  in 
the  overture,  Turridu,  ten.;  "II  cavallo 
sealpita,"  Alfio,  bar. ;  "  Inneggiamo, 
il  Signor,"  Santuzza,  sop.,  and  chorus ; 
"  Voi  lo  sapete,  O  mamma,"  Santuzza ; 
"  Fior  di  giaggolo,"  Lola,  mez.  sop. ; 
the  Intermezzo;  and  "Viva  il  vino," 
Turridu.  At  the  first  performance 
Roberto  Stagno  was  the  Turridu  and 
Gemma  Bellinconi  the  Santuzza. 

Cavalli  (Pietro  Francesco)  com- 
posed 27  operas,  including  "  Le  Nozzi 
di  Teti,"  1639;  "  Serse,"  1660,  for  the 
marriage  festivities  of  Louis  XIV  in 
Paris ;  "  Ercole  amante,"  and  church 
music;  played  organ  at  St.  Mark's, 
Venice,  where  he  finally  became  chapel- 
master;  son  of  Caletti-Bruni,  a  musi- 
cian of  Crema,  Venice,  assumed  name 
Cavalli  in  compliment  to  his  patron, 
a  Venetian  nobleman.  B.  about  1600; 
d.  Jan.  14,  1676. 

Cavallini  (Ernesto)  composed  for 
and  played  and  taught  clarinet.  B. 
Aug.  30,  1807;   d.  Jan.  7,  1873. 

Cavalquet.    Fr.    Military  trumpet- 


Cavatina.  It.  Originally  meant  a 
melody  in  one  part  and  without  re- 
peat, but  is  now  applied  to  such  arias 
as  "  Salve  dimora  "  in  "  Faust "  and 
"  Be  thou  faithful "  in  Mendelssohn's 
"St.  Paul." 

Cavendish.  (Michael)  composed 
"Ayfes  for  four  Voyces,"  1599;  and, 
with  nine  other  composers, "The  Whole 
Booke  of  Psalmes,"  published  by  Este, 
1592. 

Cavos  (Catterino)  composed  "  Ivan 
Sonsanin"  and  successful  Russian 
fairy  operas;  conducted  at  Padua, 
taught  in  Venice,  became  conductor 
of  St.  Petersburg  opera,  1797.  B. 
Venice,  1776;  son  of  the  director  of 
"La  Feniee";    d.  1840. 

Cazzati  (Maurlzio)  composed 
church  music;  chapelmaster  to  Duke 
of  Sabioneta  and  to  churches  in  Fer- 
rerra,  Bergamo,  and  Bologna.  B. 
1620,  Guastalla;    d.  1677. 

C  BarrS.  Fr.  Time  indication  C 
with  a  line  through  it. 


C  DUB 


106 


CHADWICK 


C  JDuT.     Oer.  ,C  major. 

Cebell.  Obsolete  name  of  dance 
form  now  called  GAVOTTE. 

Cecilia  (Saint).  Noble  Roman 
virgin  and  martyr  whose  festival,  Nov. 
22,  is  celebrated  as  that  of  the  tute- 
lary saint  of  music  and  musicians, 
and  for  whom  many  important  socie- 
ties have  been  named. 

Celere.     /*.    Swift. 

Celerita,  con.  It.  With  speed; 
swiftly. 

Celesta.  Keyboard  percussion  in- 
strument invented  by  Mustel,  Paris. 

Celeste.  Fr.  Directs  use  of  soft 
pedal. 

Celeste,  Voiz.  Fr.  Organ  or  har- 
monium stop;    Vox  Angelica. 

Celestino  (Eligio)  composed  for 
and  played  violin;  concertmeister  to 
Duke  of  Mecklenburg.  B.  1739, 
Rome;    d.  Jan.   14,  1812. 

Cellier  (Alfred)  composed  light 
operas,  including  "  Nell  Gwynne,"  re- 
vived later  with  new  book  as  "  Dor- 
othy,'' "  The  Mountebanks,"  to  book 
by  W.  S.  Gilbert,  1891S,  "  Bella  Donna," 
"  Pandora,"  book  by  Longfellow,  Bos- 
ton, 1881 ;  orchestral  "  Suite  Sym- 
phonique,"  setting  of  Grey's  "  Elegy," 
etc. ;  played  organ  and  conducted.  B. 
London,  1844;    d.  1891. 

'Cello.  Popular  abbreviated*  name 
of  VIOLONCELLO. 

Cembal  d'Amore.  Probably  a 
double  clavichord,  now  obsolete. 

Cembalo.  DULCIMER  or  cimbalom, 
still  played  in  so-called  Hungarian 
and  Gipsy  orchestras ;  abbreviation  of 
clavicembalo  or  HARPSICHORD. 

Cembanella  or  Cennamella.  It. 
Flute  or  pipe. 

Cenerentola.  Gioacchina  Rossini's 
opera,  to  book  by  Feretti,  based  on 
"  Cinderella,"  was  first  performed 
during  the  Roman  Carnival  of  1817 
at  the  Teatro  Valle. 

Centone.  /*.  Patchwork  or  pas- 
ticcio. 

Cerone  (Dom  Pietro)  wrote  on 
theory;  priest  and  musician  to 
Chapel  Royals  of  Spain  and  Naples. 
B.  1566,  Bergamo;    d.  Naples. 

Certon  (Pierre)  composed  church 
music;  chapelmaster  at  the  Ste.  Chap- 
elle,  Paris.     D.  Paris,  Feb.  23,  1572. 


Cetvelet  or  Cervalet.  Small  reed 
instrument  now  obsolete. 

Cervetto.  Professional  name  of 
the  BASSEVI  family. 

Ces.     aer.    C  flat. 

Cesaris  (Johannes)  composed  mo- 
tets, and  secular  songs  to  French 
words,  15th  century. 

Cesti  (Marcantonio)  composed 
"L'Orontea,"  "La  Dori,"  and  other 
operas;  did  much  to  reform  and  im- 
prove the  opera  of  his  day;  chapel- 
master at  Florence,  1646;  vice  chapel- 
master at  Vienna,  1666.  B.  about  1620 ; 
entered  the  Church;    d.  Venice,  1069. 

Cetera.    It.    Citara  or  zither. 

Cevallos  (rrancisco)  composed 
church  music;  canon  and  music  direc- 
tor Burgos  Cathedral  from  1535 to  1572. 

Chabrier  (Alexis  Emmanuel) 
composed  the  operas  "  Gwendoline," 
Brussels,  1886;  "Le  Roi  malgrfi  lui," 
Paris  Opfira  Comique,  1887;  and 
"  Brisfiis,"  left  unfinished;  the  scena 
"  La  Sulamite,"  "  Espana,"  a  rhap- 
sody on  Spanish  airs;  conducted,  etc. 
B.  Ambert,  Puy  de  D6me,  Jan.  18, 
1841;    d.  Paris,  Sept.   13,  1894. 

Chaconne.  Fr.  Obsolete  Spanish 
dance  in  3-4  time,  often  constructed 
upon  a  ground  bass,  and  sometimes 
introduced  as  a  slow  movement  in 
sonatas. 

Chadwick  (George  Whitfield)  com- 
posed three  symphonies,  six  overtures, 
eight  choral  works  with  orchestra, 
chamber  music,  songs;  conducted  the 
Springfield  and  Worcester,  Mass., 
Festivals,  directed  the  New  England 
Conservatory  of  Music,  1897;  played 
organ;  pupil  of  Eugene  Thayer,  Bos- 
ton; Reinecke,  Jadassohn,  Leipsic 
Conservatory.  "  Rip  van  Winkle,"  an 
overture,  was  performed  at  Leipsic, 
and  later  in  Boston,  where  Mr.  Chad- 
wick settled  as  teacher  and  organist. 
Other  works  to  be  noted  are  the  con- 
cert overtures  "Thalia,"  "Melpom- 
ene," "Euterpe,"  symphonies  No.  1, 
in  C  major;  No.  3  in  P  major,  which 
won  first  prize  in  the  competition  of 
the  National  Conservatory  of  Music, 
1894;  "Columbian  Ode"  for  dedica- 
tion of  the  Chicago  Exposition,  1892; 
"The  Viking's  Last  Voyage,"  for  the 
Boston  Apollo  Club,  1880.    Mr.  Chad- 


CHAIR  OBOAN  107  CHANT 

wick  also  wrote  a  text  book  on  har-  Changes.  Alterations  of  bell  mel- 
mony.  B.  Nov.  13,  1854,  Lowell,  ody  by  changing  the  order  in  which 
Mass.;    add.  Boston.  bells  are  rung. 

Chair  Organ.  Choir  or  Prestant  Changing  Notes.  Passing  notes 
o'g*ii.  or   discords   on   accented   parts   of   a 

Ch&let.     Adolphe  Adam's  three-act   measure. 
comic  opera,  to  book  by  Scribe,  was  first       Chanot   (Frangois)   made   a  pear- 
performed  Sept.  25,  1834,  in  Paris.        shaped  violin,  which  a  committee  of 

Chalumeau.  Fr.  From  the  Latin  the  Institute  of  France  declared  equal 
"  calumus,"  a  reed,  was  the  name  of  in  quality  to  those  of  Guarnerius  and 
an  obsolete  instrument  also  called  Stradivarius,  1817,  but  like  all  at- 
shawn  or  schalmey,  from  which  tempts  to  improve  on  the  models  of 
clarinets  and  oboes  may  have  been  those  masters,  his  instrument  finally 
derived.  The  term  applies  to  the  proved  a  failure.  B.  Mirecourt,  France, 
clarinet's   lowest  register.  1787;    d.  Brest,  1823.    Georges  made 

Chamber  Husic  is  that  heard  to  violins  modeled  on  that  of  his  brother 
better  advantage  in  a  small  room  or  FRANQOIS,  but  eventually  returned  to 
chamber,  rather  than  in  a  large  con-  the  classic  model.  He  married  Plor- 
cert  room,  church,  or  theatre.  The  entlue  Demoliens,  the  only  woman 
term  originally  included  vocal  as  well  known  to  have  become  a  skilled  violin 
as  instrumental  pieces  for  solo  or  con-  maker.  B.  Mirecourt,  1801 ;  retired 
certed  performance.  In  modern  usage  1872.  Oeorges,  Jr.,  made  violins  in 
the  term  is  restricted  to  music  for  London.  B.  Paris,  1831;  son  of  MME. 
strings  or  combina/tions  of  strings  and  GEORGES  CHANOT;  d.  1895. 
with  piano.  G.  A.,  P.  W.,  and  Joseph,  three  sons 

Chamber  Organ.     Small  organ.       of  GEORGES,  JR.,  also  made  violins. 

Chambonnieres,  de  (Jacques  Chanson.  Fr.  Songs  which  are 
Champion)  composed  for,  taught,  and  the  French  equivalent  of  the  German 
played  harpsichord ;  musician  to  Louis  lieder  or  English  ballad,  and  like  them 
XIV;  took  name  from  his  wife's  es-  are  of  all  degrees  of  merit  or  demerit, 
tate.    Son  of  Jacques  de  CHAMPION,    reflecting  the  religious,  political,  and 

Chaminade  (Cecile)  composed  a  ethical  status  of  the  people  among 
Symphonic  lyrique  for  chorus  and  or-  whom  they  were  sung.  Numerous 
chestra ;  the  ballet  "  Callirhoe,"  Mar-  classes  of  chansons  may  be  grouped 
seilles,  1888;  songs  and  piano  pieces;  under  four  general  heads,  which  seem 
played  piano  in  concert;  debut  at  18.  to  have  been  recognized  by  early 
B.  Paris,  Aug.  8,  1861;    add.  Paris.        French    poets:     chansons    historique, 

Champion  (Antoine)  played  organ  de  mStier,  d'amour,  and  bachique ;  and 
in  Paris,  16th  century.  Thomas  to  these  divisions  may  be  added  the 
composed  60  psalms  for  four  voices;  chanson  des  rues,  or  street  song, 
played  organ  and  harpsichord  at  courts  Chant  is  the  specific  term  for  the 
of  Charles  IX  and  Henri  III  of  musical  rendering  of  a  church  ser- 
France.  Jacques  played  organ  in  vice,  although  it  also  means  "  song " 
Paris  during  reign  of  Louis  XIII ;  or  "  to  sing,"  and  is  the  French  equiv- 
Bon  of  THOMAS;  father  of  CHAM-  alent  of  song,  tune,  or  vocal  part. 
BONNli;RES.  Ecclesiastical  chants,  whether  Angli- 

Change.  MODULATION  or  change  can,  Galilean,  Parisian,  or  of  Cologne, 
of  key.  are  merely  modifications  of  eanti  firmi 

Changeable  Chant.  One  that  may  built  upon  GREGORIAN  TONES. 
be  sung  in  either  major  or  minor  Anglican  chant  in  John  Marbeeke's 
mode.  "Book  of  Common  Praier  noted"  is 

Changer  de  Jeu.  Fr.  To  change  an  adaptation  of  the  Roman  ritual- 
an  organ's  stops.  istic  music  to  the  first  English  ver- 

Change  Ringing.  Diversity  of  sions  of  the  service,  1550,  and  the 
effect  in  bell  ringing  obtained  by  ehang-  Gregorian  chants  continued  to  be  em- 
ing  the  order  in  which  they  are  rung,     ployed    in    Anglican    churches    until 


CHANT  i:GAL 


108 


CHABB 


liturgical  music  was  suppressed  by 
Cromwell.  With  the  accession  of 
Charles  II,  chanting  was  resumed  in 
Cathedrals,  at  least.  The  ancient 
chants  have  been  more  carefully 
studied  since  1840,  the  result  being 
numerous  editions  of  Anglican  ser- 
vice books,  of  which  the  most  impor- 
tant in  recent  years  is  "  The  Cathe- 
dral Prayer  Book."  Beformed  Churches 
on  the  Continent  held  chanting  in  dis- 
favour, like  the  English  Puritans, 
preferring  metrical  versions  of  the 
psalms  and  other  passages  of  scrip- 
ture used  in  worship.  Modern  Angli- 
can chants  are  either  Single,  consist- 
ing of  a  first  strain  of  three  and  a 
second  of  four  measures  in  length; 
or  Double,  having  twice  the  length 
of  a  single  chant.  As  originally  sung 
in  the  Roman  liturgy  every  syllable 
was  soimded  to  a  single  note,  and  the 
Gregorian  chant  had  five  parts:  the 
intonation,  the  first  reciting  note  or 
dominant,  the  mediation,  the  second 
reciting  note  or  dominant,  and  the 
ending.  The  Anglican  chant  elimi- 
nates the  intonation,  and  permits  sev- 
eral words  to  be  chanted  to  the  note, 
perfecting  the  rhythm.  Fitting  words 
to  the  music  is  called  "  pointing,"  and, 
in  the  absence  of  authority,  editors 
have  exercised  their  own  discretion  in 
pointing  the  psalter  and  canticles. 

Chant  jkgal.  Fr.  Chant  on  two 
tones  or  chant  en  ison. 

Chantant.     Fr.    Singing. 

Chanter.  One  who  chants;  lay 
vicar. 

Chanter  g,  Livre  Ouvert.  Fr. 
Sight  singing. 

Chanterelle.  Fr.  A  violin's  E 
string;  highest  string  on  instruments, 
generally  employed  in  producing  a 
melody. 

Chanterres.  Fr.  Mediasval  ballad 
singers  or  cantadours. 

ChanteuT.     Fr.     Male  singer. 

Chanteuse.     Fr.     Female  singer. 

Chant  Gregorien.  Fr.  Plain  song 
or  Gregorian  chant. 

Chantries.  Roman  Catholic  chapels 
endowed  for  the  celebration  of  masses 
attached  to  cathedrals  and  monasteries. 

Chant  sur  la  Livre.  Fr.  Cantus 
fermus  sung,  usually  by  the  bass,  with 


free  contrapuntal  accompaniment  of 
higher  voice. 

Chapeau  Chinois.  Fr.  Small  bells 
arranged  on  a  frame  resembling  a 
Chinese  hat. 

Chapelle.  Fr.  Choir  or  orchestra 
or  musical  establishment,  either  reli- 
gious or  secular. 

Chapelle,  Maitre  de.  Fr.  Chapel- 
master. 

Chapels  Royal.  Clergy  and  lay 
clerks  attached  to  royal  families. 
There  are  English  chapels  royal  at 
Whitehall,  and  St.  George's,  Windsor, 
but  the  term  is  usually  restricted  to 
the  chapel  at  St.  James's  Palace,  where 
the  establishment,  besides  the  clergy, 
includes  ten  boys,  eight  gentlemen,  a 
chapelmaster,  an  organist,  and  a 
composer. 

Chappell  &  Co.  publish  music 
and  manufacture  pianos  in  London. 
The  house  was  founded  in  1812  by 
Samuel  Chapell,  Francis  Tatton  La- 
tour,  and  John  Baptist  Cramer,  but 
eventually  passed  to  the  exclusive 
control  of  Mr.  Chapell,  who  died,  1834, 
leaving  the  business  to  his  widow  and 
sons.  William  wrote  on  music,  pub- 
lished song  collections,  and  projected 
the  Musical  Antiquarian  Society, 
1840.  B.  London,  Nov.  20,  1809;  d. 
Aug.  20,  1888.  THOMAS  PATEY 
planned  the  London  Saturday  and 
Monday  Popular  Concerts,  which  were 
managed  by  his  younger  brother  Ar- 
thur, and  together  they  aided  in 
building  St.  James's  Hall.  Thomas 
Patey  died  1902,  and  his  son  T.  Stan- 
ley succeeded  to  his  Interest  in  the 
house,  which  had  become  a  corpora- 
tion, 1896. 

Chappington  (John)  built  organs 
in  England.    D.  1606. 

Chappie  (Samuel)  composed  and 
played  organ  40  years  at  Ashburton, 
though  blind  from  infancy.  B.  Cred- 
iton,  Eng.,  1775;    d.  Oct.  3,  1833. 

Characteristischer  Ton.  &er. 
Leading  note. 

Characters.  Signs  employed  in 
NOTATION. 

CharacterstUcke.  Ger.  Descrip- 
tive music. 

Chard  (Dr.  George  William)  com- 
poser church  music  and  glees;    organ- 


CHARITY 


109 


CHElTCSt 


ist   Winchester   Cathedral.     B.    Win- 
chester, Eng.,  1765;    d.  May  23,  1849. 

Charity  Children  attached  to  Lon- 
don charity  schools  held  annual  song 
festivals  in  St.  Paul's  Cathedral,  1704 
to  1877,  mustering  from  5000  to  6000 
voices. 

Charles  II.  Sir  George  A.  Mac- 
farren'a  two-act  English  opera,  to  book 
by  Desmond  Ryan,  was  first  performed 
in  London,  1849. 

Charpentier  (Gustave)  composed 
the  opera  "LOUISE,"  Paris  Op6ra 
Comique,  1900;  "  Orphee,"  "  Tgte 
rouge,"  "  La  Couronnement  de  la 
Muse";  ranked  with  the  best  of 
younger  French  composers.  A  native 
of  Dieuze,  Alsace-Lorraine,  his  par- 
ents removed  to  Turcoing  after  the 
Franco-Prussian  war;  at  17  he  en- 
tered the  Lille  Conservatory,  won 
many  prizes;  became  pupil  of  Mas- 
sart,  Pessard,  and  Massenet  at  the 
Paris  Conservatoire;  captured  the 
prix  de  Rome,  1887,  with  "  Didon," 
his  "  sc6ne .  lyrique  " ;  composed  the 
suite  "  Impressions  d'ltalie  " ;  and  a 
"  symphonic  drama,"  "  La  Vie  de 
Po6te,"  in  four  movements  for  orches- 
tra, chorus,  and  soli,  to  his  own  words. 
Other  important  works  of  more  recent 
date  are :  "  Fleurs  de  Mai,"  to  Bau- 
delaire's poems ;  "  Quinze  pofemes 
chant6s";  an  orchestral  suite,  1894; 
"Serenade  a  Watteau,"  1896;  "Impres- 
sions fausses,"  orchestra  and  voices. 
B.  June  25,  1860;    add.  Paris. 

Charpentier  (Marc  Antoine)  com- 
posed 17  operas,  music  to  plays  by 
MoliSre  andOorneille;  church  music,  or- 
atorios, cantatas,  symphonies ;  chapel- 
master  to  the  Ste.  Ohapelle  and  in- 
tendant  to  Due  d'Orleans;  Regent  of 
France.     B.  Paris,  1634;    d.  1702. 

Chasse,  a  la.  Fr.  In  hunting 
style. 

Chatterton  (John  Balsir)  com- 
posed for  harp ;  harpist  to  Queen  Vic- 
toria. B.  Norwich,  1802;  d.  London, 
April  9,  1871. 

Chatzozerah  or  Khatsotsrah. 
Hei.  Silver  trumpets  used  by  Moses 
for  calling  the  assembly  and  "  for  the 
journeying  of  the  camps." 

Chausson  (Ernst)  composed  "  H6- 
16ne,"  two-act  lyrical  play;    music  for 


Shakespeare's  "  Tempest,"  "  La  L6- 
gende  de  Sainte-C6eile,"  lyrical  play, 
and  "Le  Roi  Arthus,"  Brussels,  1903; 
three  symphonic  poems,  "  Solitude 
dans  le  bois,"  "  Viviane,"  "  Soir  de 
fete";  symphony  in  B  minor;  "Jeanne 
d'Arc,"  and  other  songs  with  orches- 
tra, church,  and  chamber  music ;  pupil 
of  Cesar  Pranck.  B.  1855,  Paris;  d. 
Limay,  July  10,  1899. 

Chauvet  (Charles  Alexis)  com- 
posed for  and  played  organ  at  the 
Trinite,  Paris;  pupil  of  Benoist  and 
Ambroise  Thomas.  B.  June  7,  1837; 
d.  Jan.  28,  1871. 

Chavanne,  von  (Irene)  sang  con. 
Dresden  Court  Opera,  1885;  pupil 
Vienna  Conservatory.  B.  Gratz,  1867 ; 
add.  Dresden. 

Check.  Part  of  the  action  in 
pianos  which  holds  the  hammer  from 
the  time  it  falls  back  from  the  string 
until  released  by  rising  of  the  key. 

Cheese  (Griffith  James)  played 
and  wrote  on  piano  and  organ.  B. 
1751;    d.  Loiidon,  Nov.  10,  1804. 

Chef  d'Attaque.  Fr.  Concert- 
meister. 

Chef  d'oeuvre.     Fr.    Masterpiece. 

Chef  d'Orchestre.  Fr.  Conductor 
of  orchestra. 

Chef  du  Chant.  Fr.  Operatic 
chorusmaster. 

Chelard  (Hippolyte  Andrg  Jean. 
Baptiste)  composed  the  opera  "  Mac- 
beth," to  book  by  Rouget  de  I'lsle; 
"  Die  Hermannschlacht,"  "  L'Aquila 
Romana "  (posth.)  ;  comic  operas; 
chapelmaster  at  Munich  and  Weimar; 
conductor  German  opera  in  London; 
pupil  of  Gossec,  M6hul,  Kreutzer,  and 
Cherubini  at  Paris  Conservatoire; 
won  prix  de  Rome,  1803.  B.  Feb.  1, 
1789,  Paris;  son  of  clarinetist  at 
Grand  Opera;    d.  Feb.  12,  1861. 

Chelidonizing.  Singing  the  "swal- 
low "  or  spring  song. 

Chell  CWilliam)  wrote  on  music, 
in  which  he  graduated  at  Oxford, 
1524;  held  appointments  at  Hereford 
Cathedral  until  deposed  by  Elizabeth. 

Chelys.  Or.  Mercury's  lyre;  ob- 
solete name  of  viol. 

Cheng.  Chinese  mouth  organ,  said 
to  have  suggested  invention  of  accor- 
deon  and  melodeon. 


dHEKTTBINI 


110 


CHESTEK 


Chembini  (U.  Luigi  C.  Z.  S.) 
composed  15  Italian  and  14  French 
operas,  17  cantatas,  11  masses,  an  ora- 
torio, two  requiems,  a  symphony,  and 
chamber  music;  influenced  the  devel- 
opment of  French  composers  during 
nearly  half  a  century  at  the  Paris 
Conservatoire;  was  esteemed  the 
greatest  living  writer  for  the  stage 
by  Beethoven,  and  was  the  last  great 
master  of  polyphonic  style.  His  mas- 
terpieces were  "  Les  DEUX  JOUR- 
NEES"  ("The  Water  Carrier"),  an 
opera  which  has  held  its  own  with 
German,  French,  and  English  audi- 
ences, and  a  celebrated  Requiem  in  C 
minor.  Son  of  the  cembalist  at  the 
Pergola  Theatre,  Florence,  Maria  Luigi 
Carlo  Zenobio  Salvatore,  to  give  his 
name  in  full,  began  to  learn  music  from 
his  father  at  six,  and  composition  at 
nine.  At  16  he  had  composed  three 
cantatas,  an  oratorio,  a  Te  Deum,  three 
masses,  two  Dixits,  a  Miserere,  a  Mag- 
nificat, and  other  works,  and  at  17  the 
Archduke,  afterwards  Emperor  Leopold 
II,  sent  him  to  study  with  Sarti,  of 
Bologna,  where  he  remained  four  years, 
thoroughly  mastering  counterpoint, 
and  writing  antiphons  in  imitation  of 
those  of  Palestrina.  In  1780  "  Quinto 
Fabio,"  his  first  opera,  was  produced 
at  Alessandria.  From  1784  to  1786 
he  was  in  London,  where  his  operas 
"  La  Finta  Principessa  "  and  "  Giulio 
Sabino  "  were  given.  The  next  year 
he  spent  in  Paris,  then  returned  to 
Italy.  His  opera  "  Ifigenia  in  Aulide  " 
was  produced  at  Turin,  after  which  he 
returned  to  Paris.  His  music  had 
hitherto  been  modeled  upon  that  of 
the  Neapolitan  dramatic  composers, 
but  in  1878  he  produced  "  Dgmophon," 
to  book  by  Marmontel,  which  proved 
a  radical  departure  from  existing  con- 
ventions, marking  out  a  style  dis- 
tinctly his  own.  He  conducted  the 
Italian  opera  at  Paris,  and  when  the 
Conservatoire  was  founded,  became 
one  of  the  inspectors  of  studies.  The 
post  was  unsuitable,  Cherubini  was 
out  of  favour  with  Napoleon,  and  had 
contracted  a  marriage  which  was  by 
no  means  happy,  and  in  1805  he  was 
glad  to  accept  a  commission  to  write 
an    opera    for    the    Vienna    Imperial 


Theatre.  During  a  sojourn  in  that 
city  he  met  Beethoven,  whose  admira- 
tion he  does  not  seem  to  have  re- 
turned, and  produced  the  operas  "Was- 
sertrager"  ("The  Water  Carrier"  or 
"Deux  Journfies")  and  "Faniska." 
Shortly  afterwards  Napoleon  captured 
Vienna,  and  Cherubini  likewise.  Men- 
tal anxieties  broke  down  his  health, 
and  Cherubini  went  into  retirement  at 
the  country  seat  of  Prince  Chimay. 
There  he  was  asked  to  write  a  mass 
for  the  dedication  of  a  church.  The 
three-part  mass  in  F  resulted,  1809, 
and  thereafter,  while  not  wholly  aban- 
doning the  stage,  the  composer  de- 
voted himself  mainly  to  church  music. 
On  his  return  from  Elba  Napole.in 
gave  Cherubini  the  cross  of  the  Legion 
of  Honor,  and  during  the  reign  of 
Louis  XVIII  he  became  a  member  of 
the  Institute,  joint  surintendant  of  the 
king's  music,  and  finally  director  of 
the  Conservatoire,  a  post  he'  held  until 
his  death.  Other  works  to  be  noted  are 
"  Marguerite  d'Anjou,"  "  Lodoiska," 
"  Koukourgi "  ( altered,  expanded,  and 
renamed  "Ali  Baba");  "Elisa," 
"  M6d6e,"  operas ;  the  ballet  operas 
"  Anacreon  "  and  "  Achille  a  Scyros  " ; 
the  later  operas,  "  Pimmalione,"  "  Le 
Crescendo,"  and  "  Abenc^rages,"  and 
"  Ali  Baba " ;  symphony  in  D  for 
London  Philharmonic  Society;  the 
masses  in  F,  D  minor,  A  flat;  the 
Solemn  Mass  in  C,  the  Requiem  in  C 
minor,  and  the  Requiem  in  D  minor 
for  male  voices.  B.  Florence,  Sept. 
14,  1760;  d.  Paris,  Mar.  15,  1842. 
See  biography:  Edward  Bellaais,  Lon- 
don, 1874;  "  Derniers  souvenirs  d'un 
musicien,"  Adolphe  Adam,  1859. 

Cherubinical  Hymn.  Trisagion 
or  Ter  Sanctus;  in  English  that  part 
of  the  communion  service  beginning 
"  Holy,  Holy,  Holy." 

Chest  of  Viols.  Set  of  two  trebles, 
two  tenors,  and  two  basses  was  so 
called  in  the  17th  century,  and  when 
supplemented  by  harpsichord  or  organ 
and  a  few  woodwinds,  sui&ced  for  the 
ordinary  orchestra. 

Chester  Musical  Festival  was 
founded  1772  under  the  direction  of 
Dr.  William  Hayes,  conductor,  and 
Mr.    Orme,    the    Cathedral    organist. 


CHEST  TONE 


111 


CHICAGO 


Festivals  were  continued  at  irregular 
intervals  until  1829,  when  they  ceased, 
to  be  revived  50  years  later  by  Dr. 
Bridges,  since  which  time  they  have 
been  given  triennially  with  great  ar- 
tistic success. 

Chest  Tone  or  Voice.  The  lowest 
or  first  register. 

Cheval  de  Bronze.  Daniel  F.  E. 
Auber's  three-act  comic  opera,  to  book 
by  Scribe,  was  first  performed  Mar. 
23,  183S,  at  the  Paris  Opera  Comique. 
An  English  version  is  known  as  "  The 
Bronze  Horse." 

Chevalet.  Fr.  Bridge  of  stringed 
instruments. 

Chevalier  composed  34  court  bal- 
lets, 1587-1617,  and  played  violin  at 
courts  of  Henri  IV  and  Louis  XIII  of 
France. 

Chev€  (Armand)  directed  the 
£icole  Galin-Paris-Chev6,  in  Paris, 
which  is  devoted  to  teaching  sight 
singing  and  sight  reading  by  means 
of  a  numerical  notation  combined  with 
sol-fa.  Jean  Jacques  Rousseau  was 
first  to  suggest  the  numeral  system  of 
notation,  and  his  theories  were  adapted 
to  practical  use  by  Pierre  Galin,  a 
Bordeaux  teacher  of  mathematics, 
1786-1821.  Airafi  Paris,  Galin's  pupil, 
devised  the  special  nomenclature  which 
has  grown  into  the  Tonic  Sol-Fa  sys- 
tem, 1798-1866.  Emile  Ghev6,  a  phy- 
sician who  married  a  sister  of  Paris, 
wrote  an  account  of  the  system  "  M6- 
thode  Elementaire  de  la  Musique  Vo- 
cale,"  and  the  vigorous  propaganda 
that  followed  resulted  in  the  introduc- 
tion of  the  method  in  the  schools  of 
Paris  and  many  other  cities. 

Chevillard  '  (Pierre  Alexander 
Frangois)  played  and  taught  'cello 
in  the  Paris  Conservatoire,  and 
founded  the  "  Society  des  derniera 
quatuors  de  Beethoven,"  1835.  B. 
Antwerp.  Jan.  15,  1811;  d.  Paris, 
Dec.  18,  1877.  Camille  composed  a 
"Ballade  symphonique,"  "Le  ChSne 
et  le  Roseau,"  symphonic  poem ;  cham- 
ber music ;  headed  the  "  Soeifitg  f ran- 
caise  de  musique  de  chambre,"  assisted 
Lamoureux  at  the  first  Parisian  per- 
formance of  "  Lohengrin,"  1887 ;  con- 
ducted concerts  in  succession  to  Lam- 
oureux, whose   daughter  he  m.,   and 


who  translated  Weingartner'a  book  on 
the  symphony.  B.  Paris,  Oct.  14, 
1859;  son  of  PIERRE  A.  F.;  add. 
Paris. 

Cheville.  Fr.  Peg  used  in  string 
instruments. 

Chevroter.  Fr.  To  quiver;  faulty 
vocalization. 

Chiabran  (Francesco)  composed 
and  played  violin;  pupil  of  his  uncle 
Somis;  known  also  as  Chabran  or 
Chiabrano.     B.  Piedmont,  1723. 

Chiara.    It.    Pure,  distinct. 

Chiaramente.    It.    Clearly,  purely. 

Chiarezza,  con.  /*.  With  bright- 
ness, or  clearness. 

Chiarlna.     It.    Clarion  or  trumpet. 

Chiave.    It.    Clef  or  key. 

Chiavette.  /*.  "Little  keys  or 
clefs."  Transposing  clefs  used  for 
higher  Church  Modes  to  keep  the 
notes  within  the  limits  of  the  staflf. 

Chica.  South  American  Spanish 
dance,  said  to  have  originated  with 
Moors. 

Chicago  traced  its  eminence  in 
music  to  1891,  when  Theodore 
THOMAS  was  brought  from  Cincin- 
nati with  the  majority  of  his  players 
to  found  the  Chicago  Orchestra,  now 
known  in  his  memory  as  the  Thomas 
Orchestra.  For  many  years  the  con- 
certs of  this  organization  were  given 
in  the  Chicago  Auditorium,  which  was, 
in  the  opinion  of  competent  judges, 
one  of  the  best,  as  well  as  the  largest 
of  theatres  suitable  for  musical  per- 
formances in  America.  It  is  to  be 
noted  with  regret  that  the  directors 
of  the  Auditorium  Association,  finding 
this  house  unprofitable,  proposed  to 
remodel  it  in  1909  for  hotel  or  busi- 
ness purposes.  At  first  the  Chicago 
orchestra  numbered  60  men,  and  con- 
certs were  given  twice  each  week  for 
a  comparatively  short  season.  In 
1901  the  orchestra  was  enlarged  to 
90,  and  the  patronage  of  the  concerts 
had  so  increased  as  to  justify  plans 
for  the  erection  of  a  Symphony  Hall. 
Mr.  Thomas  survived  long  enough  to 
conduct  the  first  concerts  in  the  or- 
chestra's new  home,  and  on  his  decease 
Frederick  A.  STOCK  became  conduc- 
tor. In  1908-9  biweekly  concerts 
were  planned  for  a  season  of  22  weeks. 


eaiOAGO                       112  CHILSTON 

and  in  addition  there  were  occasional  Adolf  Carpen.     The  registration  then 

tournees.    Chicago  is  the  seat  of  many  included   2000    students.     The    Bush 

educational  institutions.    The  Ameri-  Temple       Conservatory       embraced 

can  Conservatory  of  Music  was  au-  schools     for    languages,     opera,    and 

thorized  by  a  charter  of  the  state  of  acting,  as  well  as  music  in  all  of  its 

Illinois  to  confer  certificates  and  the  branches,  and  was  in  affiliation  with 

degree  Bachelor  of  Music,  the  latter  producing  theatres.   Kenneth  M.  Brad- 

on    completion    of    a    post    graduate  ley  was  the  director  in   1908.     Chi- 

course.    It  professed  to  give  the  most  cage  Musical  College  was   founded 

thorough  Course  of  study  in  the  art  1869,   and  in   1908   included,   besides 

of  music  that  could  be  found  in  Amer-  all    branches    of    music,    schools    of 

iea.    The    Conservatory   was    founded  acting,   opera   of   expression,    and   of 

in  1886  by  John  J.  Hattstaedt,  who  modern  languages.     In  that  year  Dr. 

was    its   president   and   head   of   the  Ziegfeld  was  president,  and  the  board 

piano    department    in    1908.      Other  of  musical  directors  included  William 

members   of   the   faculty   then   were:  Castle,  Hugo  Heerman,Bernhard Liste- 

Piano:    Victor  Garwood,  Allen  Spen-  mann.   Dr.   Louis  Falk,   Herman  De- 

cer,  Heniot  Levy,  Silvio  Scionti,  Jen-  vriea,  Hans  von  Schiller,  Felix  Borow- 

nette    Loudon,     Effie    Murdock,    Ida  ski,  Ernesto  Console,  Mrs.  O.  H.  Fox, 

Kaehler,  Lillian  W.  Pomeroy,  Louise  and  J.  H.  Gilmour.    Of  the  many  im- 

Robyn,  Florence  Hackett,  Earl  Blair,  portant  singing  societies  called  Apollo 

May    Doelling,    Ella    Mills,    Amanda  Club  one  of  the  largest  and  most  im- 

Closius,  Sadie  Krause,  Helen  Ashley,  portant  is  domiciled  in  Chicago.     In 

Lucile    Fitzgerald,    Albertine    Heller,  1908  the  musical  director  wias  Harri- 

Edna  Cookingham,  Frank  Van  Dusen,  son  M.  Wild. 

Emma  Dean,  George  Weiler,  Kurt  Cliickering  (OTonas)  founded  the 
Wanieck,  Clyde  Stephens.  Singing:  first  important  American  piano  fae- 
Karleton  Hackett,  E.  C.  Towne,  Ragna  tory,  1823.  B.  New  Ipswich,  N.  H., 
Linng,  John  T.  Read,  O.  E.  Robinson,  1798;  d.  Boston,  1853.  Col.  Thomas 
Jennie  Johnson,  Susan  E.  Drought,  E.  C.  took  first  prize  at  the  Paris  Ex- 
Viola  Paulus,  Heater  Schoeninger.  position  of  1867  with  an  improved 
Violin:  Herbert  Butler,  Adolf  Weidig,  piano;  became  Chevalier  of  the  Le- 
Charles  Moerenhout,  Josef  Halamicek,  gion  of  Honor;  continued  the  piano 
William  Eis,  George  Colbum,  Lulu  business.  B.  Boston,  1824;  d.  1871. 
Sinclair,  Mary  Cox.  Organ:  Wilhelm  His  sons  succeeded  to  the  business, 
Middelsehulte,  Effie  Murdock,  Sara  L.  which  was  incorporated.  In  1908  C. 
Beals.  Harmony,  Counterpoint,  Com-  H.  W.  Foster  was  president  of  the 
position:  Adolf  Weidig,  Hubbard  W.  company. 
Harris,  Charles  Elander,  George  Col-  CMesa.  /*.  Church, 
burn.  Orchestration:  Adlof  Weidig.  ChifEres.  Fr.  Figures,  as  Basse, 
Violoncello:  Jan  Kalas.  Harp:  Alice  FIGURED  BASS. 
Genevieve  Smith.  Clarinet:  Frank  Chilcot  (Thomas)  composed  songs 
Schoepp.  Cornet:  J.  D.  Llewellyn,  to  words  by  Shakespeare  and  harpsi- 
Flute:  Herman  Wiesenbach.  Trom-  chord  concertos;  played  organ  at 
hone:  Gustav  Stange.  Bassoon:  Paul  Abbey  Church,  Bath,  Eng.  D.  1766. 
Kruse.  Mandolin,  Gmtar:  J.  B.  Cor-  Child  (Dr.  William)  composed 
bett.  Ensemhle  PloA^ing :  AAoM'WiiidA.g.  services  and  other  church  music ;  com- 
Normal  Department:  John  J.  Hatt-  poser  to  Charles  II  of  Eng.;  organ- 
staedt,Victor  Garwood, Karleton  Hack-  ist  Chapel  Royal.  B.  Bristol,  1606; 
ett,  Allen  Spencer,  Jennette  Loudon,  d.  Mar.  23,  1697. 
Louise  Robyn.  PubUc  School  Music:  Chilesotti  (Oscar)  wrote  valuable 
O.  E.  Robinson,  George  A.  Blackman.  books  on  musical  antiquities;  ama- 
Dramatic  Art,  Oratory:  Emma  G.  teur  'cellist  and  flautist;  graduated 
Lumm-Crane,  Frances  Donovan,  Helen  in  law  at  Padua.  B.  July  12,  1848, 
Alden,  Mary  L.  Abell.  Italian  and  Bassano;  add.  Milan. 
French:    Stephen  Spagiari.     German:  Chilston  wrote  on  theory  in  Eng- 


CHIME  BELLS                 113  CHOPIN 

land,  15th  century,  viewing  music  as  words    from    Spencer's    "  Polynietis," 

a  branch  of  applied  mathematics.    His  was  first  performed  Mar.  1,  1751,  at 

treatise  is  almost  entirely   reprinted  Covent  Garden, 

in   Hawkins'   "History   of   Music."  Choir.       In     abbey     or     cathedral 

Chime  Bells  attuned  to  a  scale  and  churches   that  portion   set  apart   for 

played  either  by  striking  by  hand  with  the  daily  services,  usually  the  eastern 

a  hammer  or  by  ringing,  either  to  an-  end,  which  is  sometimes  enclosed  by 

nounce   worship   or  the   hour   of   the  a   screen;    the  singers  in  a  church; 

day.     The   BARREL  mechanism   has  subdivisions  of  a  church  chorus,  that 

been   applied  to   chime   ringing,   and  seated  near  the  Cantor  or  Precentor 

Lewis,  the  organ  builder,  invented  a  being  the   Cantoris,^  as  distinguished 

pneumatic  chime.  from  that  seated  near  the  Dean,  or 

Chinese     Pavilion.       CHAPEAU  Decani. 

CHINOIS.  Choirman.      Adult    member    of    a 

Chipp     (Dr.     Edmund    Thomas)  choir, 

composed  the  oratorio  "  Job  " ;  "  Na-  Choir  Organ.    Small  organ  used  to 

omi,  a  Sacred  Idyl,"  church  and  organ  accompany  the  choir,  formerly  placed 

music;    played  organ  Ely  Cathedral,  in    front    of    and    below    the    Great 

Eng.     B.  London,  Deo.  25,  1823;    d.  Organ. 

Nice,  Dec.  17,  1886.  ChoUet    (Jean    Baptiste    Marie) 

Chlrimia.     8p.    Oboe.  created  many  ten.  rSles  in  operas  of 

Chirogymnast.       Any     apparatus  H€rold,    Auber,    Adam,    Halevy,    and 

designed  to  strengthen  the  fingers.  Balfe,  at  Paris  Opgra  Comique.     B. 

Chironomy.     Gesticulations  of  the  Paris,   May   20,    1798;     d.   Nemours, 

hands  in  conducting.  Jan.  12,  1892. 

Chiroplast.      Instrument   invented  Chopin  (Prangois  Prederic)  com- 

by  Logier,  1810,  consisting  of  position  posed   piano    music   unsurpassed    for 

frame  and  wrist  and  finger  guides  to  perfection  in  style,  rich  singing  qual- 

aid    in    correct    performance    on    the  ity,  and  originality;    played  with  a 

piano.  delicacy  combined  with  poetic  fervour 

Chitarra.    /*.    GUITAR.  which    distinguished   him   above    the 

Chitarra  col  Arco.    It.    String  in-  other  great  pianists  of  his  generation, 

strument  shaped  like  guitar  but  played  developing  a  style  of  piano  technique 

like  viol.  in  which  "  everything  must  be  made 

Chitarrina.    It.    Small  Neapolitan  to  sing  "  instead  of  aiming  chiefly  at 

guitar.  orchestral    effect.      Son    of   Nicholas 

Chitarrone.      /*.      Large    double-  Chopin,  who  had  gone  from  Nancy  to 

necked  lute  or  theorbo  with  two  sets  Polaind,  becoming  first  bookkeeper  in 

of  wire  strings,  especially  useful  for  a  snuff  factory,  afterwards  a  captain 

bass  accompaniment.  in  the  National  Guard,  and  finally  a 

Chiuso.     It.     Closed;    concealed.  teacher    of   French,    in    the    Warsaw 

Chladni    (Ernst    Plorens    Pried-  Lyceum,   Chopin    inherited   from   his 

rich)  made  the  first  serious  investi-  mother,    born   Justine   Kryzanowska, 

gations  into  the  laws  of  sound,  and  much  of  the  temperament  of  his  na- 

embodied     his     experiments,     among  tive  land,  for  which  he  ever  retamed 

which  was  that  showing  the  vibration  a  patriotic  devotion.    Adalbert  Zywny 

of  plates  and  chords  by  means  of  sand  was  his  first  teacher,  and  he  first  ap- 

sprinkled  over  them,  in  a  "Treatise  peared  in  concert  at  nine,  and  as  a 

on  Acoustics,"  which  Napoleon  gave  composer  at   11.     At   12   he   entered 

him    6000    francs    to    translate    into  the    Warsaw   conservatory,    studying 

French;      invented     the     OLAVICY-  with   Joseph   Eisner,   and  at   14   his 

LINDER      B    NOV    30    1756;    LL.D..  -d° /"  ^  ^-^^^0^  "'l^  ^i 

""ilTeU'-  T'^o"^               '  °aV  Op.  2,  the  trio  for  piano  and 

Choice  of  Hercules.     George;  Fred-  strings,  Op.  8,  the  sonata.  Op    4,  the 

erick   Handel's   musical  interlude,  to  E  minor  nocturne,  and  the  polonaises 

8 


CHOPIN  114  CHOPIN 

in  G  minor,  D  minor,  and  B  flat  were  union  of  two  such  opposing  natures 
composed  before  he  was  19,  at  which  could  only  result  in  unhappiness  for 
time  he  first  visited  Berlin.  In  1829  both,  but  each  found  in  the  other  a 
he  gave  successful  concerts  in  Vienna,  fertile  source  _  of  "  copy."  George 
and  after  a  brief  sojourn  at  Warsaw,  Sand's  impressions  of  the  pianist  are 
departed  on  a  concert  tour  in  1830,  recorded  in  "  Un  Hiver  a  Majorque," 
which  included  Breslau,  Dresden,  the  "Histoire  de  ma  Vie,"  and  "  Lu- 
Prague,  Vienna,  Munich,  and  Stutt-  crezia  Floriani " ;  while  those  of 
gart,  but  which  proved  a  financial  Chopin  found  expression  in  his  pre- 
failure.  In  the  latter  city  he  composed  ludes,  Op.  28,  and  other  works.  They 
the  etude  in  C  minor.  Op.  10,  No.  12,  returned  to  France  in  the  spring  of 
believed  to  have  been  inspired  by  his  1839,  spending  their  summers  at 
grief  at  the  capture  of  Warsaw  by  the  Nohant,  their  winters  in  Paris,  until 
Russians.  Debarred  by  physical  frail-  1847,  when  they  separated  after  a 
ties  from  fighting  for  Poland,  Chopin  bitter  quarrel,  the  shock  of  which 
henceforth  regarded  himself  as  an  may  have  hastened  the  composer's 
exile,  and  made  his  home  in  Paris,  end.  On  the  outbreak  of  the  Revolu- 
where  the  misfortunes  of  his  country  tion  of  1848,  Chopin  went  to  England, 
caused  him  to  be  received  with  great  where  he  gave  a  number  of  concerts, 
cordiality.  In  1832  Chopin  gave  his  although  so  weak  he  had  to  be  carried 
first  concert  in  Paris,  and  although  into  the  concert  room.  In  the  fall  he 
embarrassed  at  first  by  want  of  money,  visited  Scotland,  but  his  concerts 
soon  established  himself  as  a  teacher  failed  to  arouse  enthusiasm,  and  in 
and  concert  pianist.  He  formed  the  1849  he  returned  to  Paris,  where  he 
acquaintance  of  the  leading  musicians  died,  and  was  buried  at  the  PSre-Ia- 
of  the  period,  including  Bellini,  Cheru-  Chaise,  after  an  elaborate  funeral  ser- 
bini,  and  Meyerbeer,  but  does  not  ap-  vice  attended  by  all  the  musicians  of 
pear  to  have  won  the  regard  of  either  the  French  capital,  at  which  Mozart's 
Liszt  or  Berlioz.  However,  Schumann  Eequiem  was  sung.  B.  Zelazowa 
reviewed  some  of  his  compositions  Wola,  near  Warsaw,  Mar.  1,  1809; 
with  the  eulogy  "Hats  off,  gentlemen!  d.  Oct.  17,  1849.  See  Nieck's  "Life," 
a  genius!"  and  his  music  soon  ac-  London,  1888;  Hunneker's  "Chopin," 
quired  a  ready  sale  in  Gtermany.  In  New  York,  1900.  A  complete  list  of 
1835,  Chopin  visited  Carlsbad,  where  Chopin's  works  follows:  Rondo,  C 
he  saw  his  parents;  Dresden  and  minor,  Op.  1;  "La  Ci  darem,"  varia- 
Leipsic,  in  the  latter  city  meeting  tions.  Op.  2;  Introduction  and  Polo- 
Mendelssohn,  Schumann,  and  Clara  naise  for  piano  and  'cello  in  C,  Op.  3; 
Wieck.  The  following  year  he  again  sonata  in  C  minor,  Op.  4;  Rondo  a 
toured  Germany,  and  in  1837  made  la  Mazur,  Op.  5;  4  mazurkas,  Op.  6; 
his  first  visit  to  England,  where  he  5  mazurkas.  Op.  7;  trio  piano  and 
consulted  a  physician  regarding  the  strings.  Op.  8;  3  nocturnes.  Op.  9; 
pulmonary  troubles  which  finally  re-  12  etudes.  Op.  10;  E  minor  concerto, 
suited  in  his  death,  and  where  he  like-  Op.  11;  "Ludovic,"  variations.  Op. 
wise  arranged  for  the  publication  of  12;  fantasia  on  Polish  airs.  Op.  13; 
his  music  by  Wessel  &  Co.  1837  was  Krakoviak  rondo.  Op.  14;  3  nocturnes, 
memorable  for  the  beginning  of  his  Op.  15;  E  fiat  rondo.  Op.  16;  4 
liason  with  Mme.  Dudevant  (George  mazurkas.  Op.  17;  E  flat  valse.  Op. 
Sand),  to  whom  he  had  been  intro-  18;  bolero.  Op.  19;  B  minor  scherzo, 
duced  by  Liszt,  and  with  whom  he  Op.  20;  P  minor  concerto.  Op.  21; 
went  to  Majorca  in  the  fall  of  1838.  E  flat  polonaise,  Op.  22;  G  minor  bal- 
Chopin's  disease  had  progressed  to  an  lade,  Op.  23;  4  mazurkas.  Op.  24;  12 
alarming  stage  by  this  time.  He  was  etudes,  Op.  25;  2  polonaises.  Op.  26; 
naturally  a  sentimentalist,  morbid,  2  nocturnes.  Op.  27 ;  24  preludes.  Op. 
frail,  of  almost  effeminate  delicacy,  28;  A  flat  impromptu,  Op.  29 ;  4  ma- 
while  Mme.  Dudevant  was  robust,  zurkas.  Op.  30 ;  B  flat  minor  scherzo, 
masculine,  and  of  virile  intellect.    The  Op.  31;    2  nocturnes.  Op.  32;    4  ma- 


CHOB 


115 


CHORD 


zurkas.  Op.  33;  3  valses,  Op.  34;  B 
flat  minor  sonata,  Op.  35;  F  sharp 
impromptu,  Op.  36;  2  nocturnes,  Op. 
37;  Ballade  in  F,  Op.  38;  C  sharp 
minor  scherzo.  Op.  39;  2  polonaises, 
Op.  40;  4  mazurkas,  Op.  41;  A  flat 
valse.  Op.  42;  tarantelle.  Op.  43; 
polonaise,  F  sharp  minor,  Op.  44 ;  pre- 
lude, C  sharp  minor.  Op.  45;  allegro 
de  concert,  Op.  46 ;  A  flat  ballade,  Op. 
47 ;  2  nocturnes.  Op.  48 ;  F  minor  fan- 
tasia. Op.  49;  3  mazurkas,  Op.  50; 
D  flat  impromptu.  Op.  51;  F  minor 
ballade.  Op.  52;  A  flat  polonaise.  Op. 
53 ;  scherzo  in  E,  Op.  54 ;  2  nocturnes, 
Op.  55 ;  3  mazurkas.  Op.  56 ;  berceuse. 
Op.  57;  B  minor  sonata.  Op.  58;  3 
mazurkas.  Op.  59;  barcarole.  Op.  60; 
polonaise  fantasie.  Op.  61;  2  noc- 
turnes. Op.  62;    3  mazurkas,  Op.  63; 

3  valses.  Op.  64;  G  minor  sonata  for 
piano  and  'cello.  Op.  65;  fantasie  im- 
promptu. Op.  66 ;    4  mazurkas,  Op.  67 ; 

4  mazurkas.  Op.  68 ;  2  valses.  Op.  69 ; 
3  valses.  Op.  70;  3  polonaises.  Op.  71; 
E  minor  nocturne,  marche  funebre  in 
C  minor  and  3  Ecossaises,  Op.  72; 
rondo  in  C  for  two  pianos,  Op.  73 ;  17 
songs  with  piano  accompaniment;  3 
etudes;  mazurkas  in  G,  B  flat,  D,  C, 
and  A  minor;  valses  in  E  major  and 
minor;  polonaises  in  G  sharp  minor 
and  B  flat  minor;  variations  in  E; 
duet  concertante  for  piano  and  'cello; 
fugue  and  nocturne.  Op.  4,  Op.  5 ;  Op. 
66,  and  all  succeeding  compositions  in 
this  catalogue  were  published  after  the 
composer's  death. 

Chor.     Ger.    Chorus. 

Choragus.  Or.  Chorus  leader  in 
ancient  Greek  drama;  titular  musical 
official  in  Oxford  University,  Eng. 

Choral.  Pertaining  to  the  chorus 
or  choir. 

Chorale.  Ger.  "Hymn  tunes." 
With  the  substitution  of  German  for 
Latin  in  church  services  by  Martin 
Luther  and  his  followers,  it  was  found 
that  melodies  in  rhythmic  music  were 
more  popular  with  the  people  than  the 
old  Gregorian  church  music,  so,  while 
the  older  music  was  retained  in  some 
instances,  secular  tunes  were  often 
adapted  to  hymns,  and  new  tunes  and 
new  hymns  were  evolved  by  the  Prot- 
estant leaders.     Luther  wrote  many 


hymns  and  hymn  tunes  himself,  the 
most  famous  being  "  Ein  feste  Burg," 
which  is  reproduced  in  the  works  of 
Bach,  Mendelssohn,  Meyerbeer,  and 
Wagner;  and  in  1524  he  published  a 
collection  of  hymns,  with  Walther, 
known  as  the  "  Urfurt  Enchiridion." 
Elaboration  of  chorales  into  contra- 
puntal works  with  organ  accompani- 
ment, practised  by  Johann  Sebastian 
Bach  and  a  host  of  lesser  musicians, 
gave  rise  to  a  distinctive  school  of 
German  organists  and  composers,  and 
has  had  an  important  influence  on  all 
modern  German  music. 

Choral  Fantasia.  Ludwig  van 
Beethoven's  composition  first  per- 
formed Dec.  22,  1808,  at  the  Theatre 
an  den  Wien,  Vienna,  foreshadowed 
the  Choral  Symphony.  It  is  in  C 
minor,  scored  for  solo  piano,  orchestra, 
solo  quartet,  and  chorus. 

Choral  Harmonic  Society  gave 
amateur  concerts  of  vocal  and  instru- 
mental music  in  London,  1837. 

Choral  Harmonists  Society  gave 
amateur  concerts  of  the  larger  choral 
works  with  orchestra  from  1833  to  1855 
in  London,  having  seceded  from  the 
City  of  London  Classical  Harmonists. 

Choral  Service.  Anglican  church 
service  which  is  sxuig  or  chanted 
throughout. 

Choral  Symphony.  Ludwig  van 
Beethoven's  ninth  and  his  only  sym- 
phony with  chorus  was  commissioned 
by  the  London  Philharmonic  Society, 
Nov.  10,  1822,  for  $250,  and  bears 
the  inscription  "  Grosse  Sinfonie  ge- 
schrieben  fiir  die  Philharmonische  Ge- 
sellschaft  in  London  von  Ludwig  van 
Beethoven,"  but  was  first  performed 
at  the  Karnthnerthor  Theatre,  Vienna, 
May  7,  1824,  and  in  London,  Mar.  21, 
1825.  The  work  was  probably  begun 
by  Beethoven  as  early  as  1817,  al- 
though he  had  thought  of  setting  Schil- 
ler's "Ode  to  Joy,"  which  forms  the 
text,  as  early  as  1792. 

Choral  Vicars.  Lay  vicars  who 
supervise  music  in  Anglican  cathe- 
drals. 

Chord.  Several  musical  sounds  in 
combination  whether  dissonant  or  con- 
sonant, as  the  chord  of  the  dominant, 
the  common  chord,  the  chord  of  the 


CHORD 


116 


CEOTTDENS,  BE 


sixth,  of  the  ninth,  of  the  diminished 
seventh,  a  major  or  minor  chord. 

Chord.     String. 

Chorda  Characteristica.  h.  Chord 
of  the  seventh. 

Chordae  Essentlales.  h.  Key 
chords. 

Chordaulodion.  Automatic  in- 
strument of  BARREL  type  invented 
by  Kauffmann  of  Dresden,  1812. 

Chordient  or  Chorampt.  Qer. 
Choral  service. 

Chordirektor.   Gter.    Chorusmaster. 

Chordometer.  Gauge  for  measur- 
ing strings. 

Chords  Etouffes.  Fr.  Damped 
chords. 

Choriambus.  Metrical  foot  com- 
posed of  two  short  between  two  long 
syllables. 

Chorister.  Any  singer  in  a  chorus 
or  choir;  in  a  more  restricted  sense, 
boy  singers  attached  to  Anglican 
Cathedrals  or  Chapels  Royal  or  such 
vested  choirs  as  that  of  Trinity 
Church,  New  York,  wherein  the  boys 
receive  instruction,  and  in  some  in- 
stances food,  lodging,  and  an  allowance 
of  money  for  their  services.  Many  of 
the  privileges  belonging  to  choristers 
in  England,  such  as  educational  facili- 
ties, the  right  to  exact  certain  fees 
and  to  elect  "  boy  bishops  "  have  dis- 
appeared, but  the  tendency  to  assume 
entire  control  of  the  physical,  mental, 
and  moral  well  being  of  the  chorister 
is  beginning  to  assert  itself  again  in 
the  English  Cathedrals.  The  office  of 
chorister  has  assumed  additional  im- 
portance in  Catholic  countries  of  late 
years  since  the  promulgation  of  mu- 
sical reforms  and  a  return  to  the 
strict  Gregorian  style.  Any  number  of 
choristers  have  achieved  places  of  dis- 
tinction in  church  and  state,  and. from 
Palestrina  and  Bach,  to  Dr.  Burney 
and  Sir  Arthur  Sullivan,  hundreds  of 
eminent  musicians  obtained  their  first 
instruction  as  choristers. 

Chorley  (Henry  Eothergill)  wrote 
"Modern  German  Music,"  1854; 
"  Thirty  Years  Musical  Recollections," 
1862;  "Handel  Studies,"  1859;  "Na- 
tional Music  of  the  World,"  1880 
(posth. ),  and  music  criticism  for  the 
London   "  Athenseum "   from    1830  to 


his  death;  translated  libretti  and 
wrote  songs.  B.  Dec.  15,  1808,  Black- 
ley  Hurst,  Lancashire,  Eng.;  d.  Lon- 
don, Feb.  16,  1872. 

Choron  (Alexandre  Etienne)  pub- 
lished a  "  Dictionnaire  des  Musi- 
ciens,"  many  works  of  the  German 
and  Italian  masters;  composed  many 
songs,  including  "La  Sentinelle," 
which  is  still  popular;  translated  and 
edited  Albrechtberger's  works;  taught 
many  eminent  musicians;  directed 
music  at  public  fgtes  from  1812  to 
close  of  Napoleon's  reign;  founded 
"  Institution  Royale  de  Musiq\ie  clas- 
sique  et  religieuse,"  which  he  directed 
1824-30.  B.  Oct.  21,  1772,  Caen;  d. 
June  29,  1834. 

Chorton.  Obsolete  pitch  to  which 
organs  were  tuned,  higher  than  pitch 
for  secular  music. 

Chorus.  Those  who  sing  the 
choruses,  whether  in  opera,  oratorio, 
concert,  or  in  church.  In  ancient 
Greece  the  chorus  was  composed  of 
men  and  women  who  recited  com- 
ment and  explanatory  text  on  the 
action  as  presented  by  the  principal 
actors.  The  first  operas  were  an 
attempt  at  reviving  the  classic  trag- 
edy, and  a  similar  duty  again  de- 
volved upon  the  chorus,  which  was 
ranged  upon  the  stage  in  two  rows, 
and  took  no  part  in  the  action.  Gluck 
was  the  first  operatic  composer  to  em- 
ploy the  chorus  in  such  a  manner  as 
to  make  the  singers  part  of  the  dra- 
matis personse,  contributing  to  the 
action  of  the  piece.  Choruses  may  be 
written  in  any  number  of  parts.  Bach 
sometimes  wrote  for  chorus  in  unison, 
Handel  generally  for  four-part  chorus 
in  his  oratorios,  and  Tallis  composed 
a  motet  in  40  parts.  Choruses  are 
often  divided  into  choirs,  and  there 
are  masses  in  the  Italian  style  for  10 
and  12  choirs  of  four  voices  each. 
Tlie  burden  or  refrain  of  a  song  is 
called  its  chorus.  The  term  was  once 
employed  as  equivalent  to  the  modern 
word  ensemble. 

Chorus  was  the  name  of  an  obsolete 
instrument  of  the  trumpet  family  and 
is  also  the  name  of  the  mixture  and 
compound  organ  stop. 

Choudens,   de   (Antoine)   founded 


CHOTIQUET 


liy 


CHWATAIi 


the  Paris  music  publishing  house 
known  as  Choudens  flls,  June,  1845. 
D.  1888,  when  the  business  passed  to 
his  son  Paul. 

Chouquet  (Adolphe  Oustave) 
wrote  "  Histoire  de  la  Musique  dra- 
matique  en  France,"  "  Le  Musfe  du 
Conservatoire  national  de  Musique," 
contributed  to  musical  periodicals; 
taught  music  in  New  York,  1840-56; 
keeper  of  the  Museum  of  the  Paris 
Conservatoire,  1871.  B.  April  16, 
1819,  Havre;  d.  Paris,  Jan.  30, 
1886. 

Chrismaiin  (Franz  Xavier)  built 
organs  in  Austria;  secular  priest.  B. 
1715;  d.  Rottenmann,  Styria,  May  20, 
1795. 

Christe  Eleison.  Gr.  Part  of  the 
KYRIE  in  the  MASS. 

Christmaiin  (Johann  Friedrich) 
wrote  on  theory,  composed,  played 
flute  and  piano;  Lutheran  clergyman. 
B.  Sept.  10,  1752,  Ludwigsburg;  d. 
May  21,  1817,  Heutingaheim. 

Christmas  Carol.  CAHOL  sung  at 
Christmas  tide. 

Christmas  Music.  Music  appro- 
priate to  the  Feast  of  the  Nativity. 

Christmas  Oratorio.  Johann  Se- 
bastian Bach's  six  church  cantatas 
composed  for  the  holy  days  in  Christ- 
mas tide,  1734,  to  words  written  by 
Picander  and  himself;  called  in  Ger- 
man "  Weihnachtsoratorium." 

Christus.  Felix  Mendelssohn's  ora- 
torio to  words  by  Chevalier  Bunsen 
was  begun  1844,  laid  aside  until  the 
completion  of  "Elijah,"  resumed  in 
1847.  Eight  numbers  were  published 
after  Mendelssohn's  death,  and  these 
were  sung,  1852,  at  the  Birmingham 
(Eng.)  Festival. 

Christus  am  Oelberge.  Beetho- 
ven's first  choice  of  name  of  the 
work  now  known  as  the  "Mount  of 
Olives."  .      , 

Chroma.  Gr.  "Color."  One  of 
the  modifications  of  the  Greek  musical 

Chroma  Duplex.  L.  Semiquaver; 
double  sharp. 

Chromatic.  A  scale  consisting  of 
a  succession  of  semitones;  an  interval 
augmented  or  diminished  by  a  sharp, 
flat,  or  natural;  a  chord  containing  a 


note  or  notes  foreign  to  diatonic  pro- 
gression; harmony  made  up  of  chro- 
matic chords. 

Chromatique.    Fr.    CHROMATIC. 

Chrotta.  Obsolete  instrument  of 
viol  family  also  called  CRWTH  and 
crowd. 

Chrysander  (Friedrich)  wrote  a 
biography  of  Handel  remarkable  for 
the  abundance  of  material  and  minute 
research  as  well  as  for  his  exaggerated 
idea  of  that  composer's  importance, 
and  for  the  writer's  opposition  to 
modern  music;  edited  ifiindel's  com- 
plete works  for  the  Handel  Gesell- 
sehaft.  B.  Lubthee,  Mecklenburg, 
July  8,  1826;  d.  Sept.  3,  1901, 
Bergedorf. 

Church  (John)  wrote  an  "  Intro- 
duction to  Psalmody,"  1723;  master 
of  choristers,  Westminster  Abbey.  B. 
Windsor,  1675;    d.  Jan.  6,  1741. 

Church  (John.)  founded  the  John 
CHURCH  00.  after  having  had  11 
years'  experience  in  the  music  house 
of  Oliver  Ditson  Co.,  Boston,  Mass. 
B.  Boston,  May  9,  1834;  d.  April  19, 
1890. 

Church  Company,  John,  was 
founded  in  Cincinnati  by  John 
CHURCH  in  1859,  published  music 
and  manufactured  the  Everett  Piano. 
In  1869  the  trade  name  was  changed 
to  John  Church  &  Co.  In  1872  the 
house  purchased  the  plates  of  Root  & 
Cady  and  later,  in  the  same  year,  the 
stock  and  good  will  of  Root  &  Sons 
Music  Co.,  both  of  Chicago,  and  opened 
a  branch  house  in  New  York  City.  In 
1908  branches  were  also  operated  in 
Chicago,  Leipsic,  and  London.  In  1885 
the  company  was  incorporated  with 
Mr.  Church  as  president,  and  estab- 
lished its  piano  factory  in  Boston. 
In  1892  it  was  reorganized  with  a 
capital  of  $1,250,000  and  Frank  A.  Lee 
became  president  and  general  manager, 
which  offices  he  held  in  1908.  Fac- 
tories subsequently  established  are 
known  as  the  Harvard,  the  Dayton, 
and  the  John  Church  Co.,  and  are 
located  in  Dayton,  Ky. 

Chwatal  (Franz  Xavier)  composed 
more  than  200  salon  pieces  for  piano. 
B.  Rumburg,  Bohemia,  June  19,  1808; 
d.    Soolbad,    Bhnen,   June    24,    1879. 


CIACCOITA 


118 


CIHAItOSA 


Joseph  improved  the  action  of  the 
organ  and  founded  the  organ  building 
firm  of  Chwatal  &  Sohn  at  Merseberg. 
B.  Jan.  12,  1811;  brother  of  FRANZ 
XAVIER. 

Ciaccona.     It.     CHACONNE. 

Ciaja,  della  (Azzolino  Bernar- 
dino) composed  masses,  motets,  and 
cantatas;  was  Knight  of  St.  Stephen, 
and  presented  to  the  church  of  that 
order  in  Pisa  a  splendid  organ  of 
which  he  supervised  the  building.  B. 
Mar.  21,  1671,  Sienna. 

Ciampi  (Legrenzio  Vincenzo) 
composed  "  Didone  "  and  many  other 
operas,  church,  and  chamber  music. 
B.  1719,  Piacenza;  visited  London, 
1748. 

Cianchettini  (Veronica)  composed 
piano  sonatas  and  concertos  and 
taught.  B.  1779,  Czaslau,  Bohemia; 
sister  of  L.  Dussek;  m.  Francesco 
Cianchettini.  Fio  composed  cantata 
to  words  from  Paradise  Lost;  edited 
Mozart  and  Beethoven's  works ;  played 
piano  at  the  London  Opera  House  ut 
five  and  traveled  as  an  "  infant  prod- 
igy." B.  Dec.  11,  1799,  London;  son 
of  VERONICA;  d.  July  20,  1851, 
Cheltenham. 

Cibber  (Susanna  Uaria)  ranked 
as  the  greatest  tragic  actress  of  her 
generation,  but  sang  con.  so  admirably 
that  Handel  composed  for  her;  oper- 
atic debut  as  Amelia  in  Lampe's  opera. 
Mar.  13,  1732,  at  the  Haymarket,  Lon- 
don. B.  Feb.,  1714;  sister  of  DR. 
ARNE,  whose  pupil  she  was;  m. 
Theophilus  Cibber,  1734;  d.  Jan.  30, 
1766. 

Cld.  Jules  Emile  Frederic  Masse- 
net's opera  in  four  acts  and  ten  tab- 
leaux, to  book  by  Dennery,  Gallet,  and 
Blau,  based  on  the  well  known  legends 
of  the  Spanish  hero,  was  first  per- 
formed Nov.  30,  1885,  at  the  Academic, 
Paris.  Rodrigue,  "The  Cid "  loves 
ChimSne,  whose  father.  Count  Gormas, 
he  is  compelled  to  kill  in  a  duel. 
ChimSne  demands  vengeance  of  King 
Ferdinand  IV,  but  is  counselled  to 
wait,  as  Rodrigue's  services  are  needed 
to  repel  a  Moorish  invasion.  When 
The  Cid  returns  victorious  Chimgne 
demands  his  head,  and  the  King  agrees, 
only  requiring  that  she  shall  herself 


pronounce  sentence.  Chim6ne  does  so, 
but  it  is  a  sentence  to  marriage,  not 
of  death.  The  original  caste  included : 
Rodrigue,  Jean  de  Reszke,  ten.;  Gor- 
mas, Pol.  Plancon,  bass;  Don  Diggue, 
Ed.  de  Reszke,  bar. ;  ChimSne,  Mme. 
Fidfis-DevriSs,  sop.  The  principal  mu- 
sical numbers  are :  Act  I :  "  Que  c'est 
beau,"  ChimSne  and  Gormas ;  "  Ah, 
la  chSre  promesse,"  ChimSne  and  In- 
fanta ;  "  O,  noble  glave  fitincelant," 
Rodrigue ;  "  O  rage,  O  dfiaepoir,"  Don 
DiSgue ;  Act  II :  "  Perce  jusques  au 
fond  du  coeur,"  Rodrigue ;  "  A  moi, 
Comte,  deux  mots!  "  Rodrigue;  "Ah 
lui!  Ciel!  Rodrigue !"  ChimSne ;  "Ah! 
je  doute  et  je  tremble,"  tutti;  Act  III: 
"  De  cet  affreux  combat,"  ChimSne ; 
"  Oh,  jours  de  premiSre  tendrease," 
Rodrigue  and  ChimSne;  Act  IV: 
"  Gloire  a  celui  que  les  Rois  maures," 
and  "  Gloire  au  Cid,  au  vainqueur." 

Cifra  (Antonio)  composed  200  mo- 
tets and  madrigals;  pupil  of  Pales- 
trina;  conducted  St.  John's  Lateran, 
Rome,  and  at  court  of  Archduke 
Charles.     B.  Rome,  1575;    d.  1638. 

Cimador  (Giambattista)  composed ; 
arranged  music;  taught.  B.  Venice, 
1761;    d.  London,  1808. 

Cimarosa  (Domenico)  composed  66 
operas,  cantatas,  oratorios;  ranked 
with  the  foremost  of  the  older  Italian 
dramatic  composers;  ehapelmaster  to 
Emperor  Leopold  III,  and  later  to  the 
King  of  Naples ;  chamber  composer  to 
Catherine  II  of  Russia;  banished  from 
Naples  because  of  revolutionary  opin- 
ions, and  died,  possibly  of  poison, 
while  en  route  to  Russia.  Pupil  for 
11  years  at  Conservatorio  Santa  Maria 
di  Loreto,  Naples,  he  won  success  with 
his  first  opera,  "  Le  Stravaganze  del 
Conte,"  1772,  Naples,  and  for  18 
years  divided  his  time  between  Naples 
and  Rome,  producing  20  operas,  which 
were'  popular  in  London,  Paris,  Dres- 
den, and  Vienna  as  well  as  in  Italy. 
Among  his  best  known  works  are: 
"  II  pittore  Paragino,"  "  II  convito 
di  pietra,"  "  La  ballerina  amante," 
"  L'Olimpiade,"  "Artaserse,"  "II  sa- 
crifizio  d'Abramo,"  "  L'impresario  in 
angustie,"  "  La  Cleopatra,"  "  La  ver- 
gine  del  Sole,"  "II  matrimonio  se- 
grieto,"    "Le    astuzie    femminile," 


CIMBALOK 


119 


CINCIimATI 


Lamante     disperato,"     "L'impegno  some    eatablishment    in    the    suburb 

superato,"     «Gh     Oraztte     Curiazii,"  "Mt.   Auburn,"   with   equipment   for 

T,^1f/,°P*'.   "c"''-"^  all'  assedio  di  boarding  pupils  from  a  distance,  and 

?,T,'.„*°a'^  "  Semiramide."     B.  Dec.  has  always  raiiked  with  the   largest 

il'J^r'  ^^^"^'  Naples;    d.  Jan.  11,  and  best  of  private  musical  institu- 

ii-    LT"®'      t       X.  *>°"«-     It  was  founded  1867  by  Miss 

Cimbalom.     /*.     Dulcimer;    harp-  Clara  Bauer,  who  was  the  directress 

sichord;    cymbals;    tambourine.  in  1908,  and  employs  a  large  staff  of 

Cimbel.      Oer.      Mixture    stop    in  teachers,  including  Cav.  Pier  Adolfo 

organs  TIRINDELLI,  Theodore  BOHLMANN, 

Cimbelstern.      Ger.      Star   shaped  Frederic  Shailer  Evans,  Malton  Boyce, 

cymbals  attached  to  organs  set  in  mo-  and  Frances  Moses.    Cincinnati  Fes- 

tion  by  pedal.  tival  was  for  many  years  the  most 

Cincinnati  College  of  llusic  important  biennial  music  festival  in 
teaches  vocal  and  orchestral  music,  America,  notable  alike  for  the  excel- 
eomposition,  and  is  the  oldest  of  en-  lence  of  the  performance  of  standard 
dowed  music  schools  in  the  United  choral  and  orchestral  works,  for  the 
States,  having  been  founded  in  1872  high  reputation  of  the  soloists,  and 
through  the  liberality  of  Heuben  the  number  of  new  works  first  made 
Springer  and  other  wealthy  citizens,  known.  An  outgrowth  of  a  large 
Its  property  adjoins  the  great  Music  festival  given  by  German  singing  so- 
Hall,  the  organ  of  which  is  available  cieties  in  1849  at  which  the  North 
for  students,  and  besides  a  number  of  American  Sangerbund  was  organ- 
class  rooms  and  a  large  dormitory,  ized,  the  Cincinnati  Festival  was 
offices,  etc.,  it  possesses  in  the  Odeon  established  in  1873  with  Theodore 
an  excellent  auditorium  for  chamber  THOMAS  as  conductor,  his  orchestra 
music,  and  a  smaller  hall  for  recital  as  the  nucleus  of  the  instrumental  or- 
purposes.  The  property  is  worth  about  ganization.and  a  chorus  of  1250  singers 
$1,500,000,  and  is  administered  by  a  made  up  of  29  societies.  The  concerts 
board  of  trustees.     Theodore  Thomas  differed   from   those   of   the   German 


was  the  first  director,  and  he  assem- 
bled an  unusually  able  teaching  corps. 


singers   in  giving  prominence  to   or- 
chestral works,  and  in  singing  to  Eng- 


The  heads   of  the  violin  department  lish  texts.     Later  a  permanent  May 

have  been  successively  JACOBSOHN,  Festival   chorus   was   organized,   and 

HENRY      SCHRADIECK,      Leandro  since  1878  the  festivals  have  been  held 

CAMPANARI,  and  Jose  Marien.    Al-  in  the  great  Music  Hall.    Mr.  Thranas 

bino   GORNO   headed   the    piano   de-  retained  the  direction  of  the  festivals, 

partment  almost  from  the  beginning;  and  his  orchestra  continued  to  be  their 

Otto   Singer  taught  theory,   and  the  main  instrumental  support  until  his 

heads  of  the  vocal  department  have  death.     Frank  van  der  Stucken  sue- 

been  Bush  W.  FOLEY,  Teela  Vigna,  ceeded  to  the  post  of   director,   and 

Lino  Mattioli.     Upon  the  removal  of  conducted  the  May  Festival  of  1908. 

Theodore  Thomas  to  Chicago  the  man-  Cincinnati    Symphony    Orchestra, 

agement  of  the  college  devolved  upon  founded  by  an  organization  of  women 

President   Peter    Rudolph    Neff,    and  presided  over  by  Mrs.  William  H.  Taft, 


upon  his  retirement,  in  1896,  Frank 
van  der  STUCKEN  became  director. 
Pietro     FLORIDIA,    A.     J.     GANT- 


( Helen  Herron),  became  the  legitimate 
successor  of  several  orchestral  bodies 
in  the  performance  of  symphonic  mu- 


VOORT,  Gisela  L.  Weber,  Louis  Victor  sic.     On  the  withdrawal  of  Theodore 

SAAR,  and  Romeo  Grorno  were  mem-  Thomas  to  Chicago  some  of  the  musi- 

bers  of  the  faculty  in  1908,  and  the  cians  who  had  played  in  his  orchestra 

retirement   of  Mr.   Van  der   Stucken  preferred  to  remain  in  Cincinnati,  the 

left  executive  administration  with  the  chiefs  of  the  various  choirs  being  at- 

president,    ex-Mayor    Fleischmann.  tached  in  many  instances  to  the  Cin- 

Cincinnati  Conservatory  teaches  mu-  cinnati   College  of  Music.     They  or- 

sic  in  all  branches,  possesses  a  hand-  ganized  the  Cincinnati  Orchestra,  the 


CINELLI 


120 


CLAOaETT 


best  known  conductor  of  which  was       Cipriani  (Lorenzo)   sang  buflFo  in 
Michael    Brand,    who    had    been    1st    opera,  London,  1790-91 


'cello  with  Mr.  Thomas,  and  gave  a 
series  of  concerts,  including  an  exeel- 


Circassienne.    Daniel  F.  E.  Auber's 
three-act    comic    opera    to    book    by 


lent    "popular"    series    on    Sunday  Scribe    was    produced    at    the    Pans 

afternoons.    While  head  of  the  violin  Op^ra  Comique,  Feb.  2,  1861. 

department    at    the    College,    Henry  Circular  Canon  closes  in  a  key  a 

Schradieck    gave    symphony    concerts  semitone   higher  than  that  in  wnieh 

with   an    orchestra    composed   of   ad-  it   commences,   and   in   the   course   of 

vanced     instrumental     students     and  12  repetitions  therefore  passes  through 

members  of  the  faculty,  assisted  by  all  the  keys, 


musicians  from  the  Cincinnati  Orches- 
tra ;    after  his  departure  there  came  a 


Circuliis.     L.     Obsolete   character 
indicating    "  tempus    perfectum "    or 


time  when  serious  orchestral  music  three  semibreves  to  the  measure.  A 
was  heard  no  more.  This  want  was  semicirculus  or  half  circle  was  the 
supplied  by  the  association  of  women,  character  indicating  common  time  for 
who  obtained  pledges  for  the  support  which  C  is  now  employed, 
of  a  series  of  symphony  concerts,  em-  Cis.  Qer.  C  sharp, 
ploying  the  best  musicians  in  the  Cin- 
cinnati Orchestra,  and  engaging  a  few 
additional  men  from  abroad.  There  major, 
were  several  conductors  during  the  Cis  KLoW, 
first  season  of  1894-5,  but  in  1895-6  minor, 
Frank  van  der  Stucken  was  engaged 
as  conductor,  and,  although  it  proved 
a  difficult  matter  to  obtain  funds  with 
which  to  meet  an  annual  deficit,  the 
Cincinnati  Symphony  Orchestra  bid  tern, 
fair  to  become  a  permanent  institu-  Cithara. 
tion.  Unfortunately  the  "Symphony 
Orchestra  Association  Co."  became  in- 
volved in  a  controversy  with  the  mu- 
sicians' union  during  the  season  of  family,  but  having  a  flat  back,  strung 
1906-7,  and  the  orchestra,  still  under  with  wire  and  played  with  a  plectrum, 
the  baton  of  Mr.  Van  der  Stucken,  from  which  the  ZITHER  is  derived, 
while  the  Association  had  for  its  Some  forms  of  the  cither  were  played 
president  Mrs.  C.  R.  Holmes,  was  dis-  with  bow;  others  strung  with  catgut, 
banded  in  April,  1907.  In  that  season  were  plucked  with  the  fingers, 
the  receipts  had  been  $49,794.41,  leav-  Citole.  Obscure  old  English  name 
ing  a  deficit  of  only  $10,056.45,  which  of  instrument,  probably  the  PSALT- 
the  supporters  of  the  association  de-  ERY. 


Ciscis.     Qer.    Double  C  sharp. 
Cis  Dur.      Ger.     Key  of  C   sharp 

Oer.     Key  of  C  sharp 

Cistella.    L.    Dulcimer  or  citole. 
Cistre.     Fr.    CITTERN. 
Cistrum.     SISTRUM. 
Citara.    /*.     Cither;    guitar;    cit- 

Ancient  lute. 
Cithara    Bijurga<.      Double-necked 
guitar  or  lute. 

Cither.      Instrument    of    the    lute 


frayed."      Such    orchestral    music    as 
Cincinnati     enjoyed     during     1907-8 


Civetteria,  con.    It.    Coquettishly. 
Civil     Service     ICusical     Society 


was     furnished    chiefly    by    visiting   gave  concerts  in  London,  1864  to  1880, 


organizations. 
Cinelli.    It.    CYMBALS. 
Cink.     Ger.    Reed  organ  stop. 
Cinq  SEars.   Charles  Gounod's  four- 


conducted  by  Sir  Arthur  Sullivan  and 
John  Foster. 

Claassen   (Arthur)    composed  the 
prize   chorus   "J>er   Kamerad,"   sym- 


act  "  opera  dialogue "  to  book  by  phonic  poem  "  Hohenfriedberg " ;  con- 
Poirson  and  Gallet  was  first  performed  ducted  New  York  and  Brooklyn  Arion 
at  the  Paris  Op6ra  Comique,  April  5,    societies ;    founded  "  Claassen  Musical 


1877. 

Cinque.      /*.     Fifth   part   in  con 
certed  music. 

Ciprandi    (Efcole)    sang    ten. 
opera,  1754-70,  London  and  Milan. 


Institute."    B.  Feb.  19,  1859,  Stargard, 

Prussia;    add.  New  York. 

Claggett  (Charles)  invented  piano 

in    and  harpsichord  improvements  which 

were  approved  by  Haydn,  and  devised 


CLAIRON  121  CLARK 

S  ^miTti.°^'r,™?*'  ''^"^  ''^^f  '^"PP^'l  P>P«'  l^'^^^g  »  mouthpiece  and 
^^H  T,W^^,^°^'^lJ''fSi„'=TP°"«'^  •'«"'  ^itli  twenty  sideholes,  of  which 
ford.a'a?rn,,.?.;\^«'^A^^*-    *ii^t«»  -?  4-»ed  by' keys,  the 


ford,  Ireland;   d.  Dublin,  1820, 
Clairon.    Fr.    CLARIN. 
Clang.      Tone   quality   or   timbre; 
noise  of  clashing  metals;   blast  of  loud 
wind  instruments. 

Clapisson  (Antoine  Iiouis)  com- 
posed "La  Promise"  and  "La  fan- 
chonnette"  and  many  other  operas 
which  failed  of  success  because  of 
poor  libretti;  played  violin;  collected 
ancient  instruments  now  in  the  mu- 
seum of  the  Paris  Conservatoire;  Chev- 
alier of  the  Legion  of  Honor  and 
Member  of  the  Institut.  B.  Naples, 
Sept.  15,  1808;  d.  Paris,  Mar.  19, 
1866.  ' 

Clapper.  Metal  rod  suspended 
from  within  the  centre  of  a  bell,  the 
strokes  of  which  set  it  in  vibration; 
BONES. 

Claque.      Fr.     People   openly   em- 
ployed  at   entertainments   in   France 
and  in  secret  elsewhere  to  direct  and 
emphasize  the  applause. 
Claquebois.     Fr.     Xylophone. 
Clarabella.      8    ft.    organ   stop    of 
open  wooden  pipes. 
Clara  Voce.     It.    Clear  Voice. 
Clari    (aiovanni    Carlo    Maria) 
composed  church  music,  some  of  which 
was  appropriated  by  Handel;    chapel- 
master  at  Pistoia,  Bologna,  and  Pisa. 
B.  1669,  Pisa;    d.  about  1745. 

Claribel  Flute.  4  ft.  pitch  organ 
stop  of  open  wooden  pipes. 

Clarichord.  Obsolete  English  term 
either  for  clavichord  or  harp. 

Clarin.  Oer.  Clarion  or  trumpet; 
4  ft.  pitch  reed  organ  stop. 

Clarin'blasen.'  Oer.  Trumpet  call; 
the  trumpet's  softer  tones. 

Clarinet.  Woodwind  instrument 
closely  corresponding  to  the  violin  in 
compass  and  of  great  importance  in 
modern  orchestras,  was  probably  an 
improvement  on  the  ancient  shawm 
or  chaliuneau,  devised  by  Denner  in 
Nuremberg  about  1690.  It  differs 
from  the  oboe  in  having  a  single  in- 
stead of  a  double  reed,  and  in  being 
cylindrical  rather  than  conical  and 
thus  having  a  twelfth  instead  of  an 
octave  as  its  first  overtone.    It  is  a 


rest  stopped  with  fingers  and  thiunb. 
There  are  four  registers,  the  lowest  of 
rich  contralto  quality  being  known  as 
the  "  chalumeau  or  schalmei "  and 
ranging  from  g  to  e'.  The  transition 
to  the  next  register  above  is  difficult, 
as  the  player  must  increase  the  wind 
pressure,  and  this  register,  the  me- 
dium, ranges  from  f  to  b'  fiat  (in- 
cluded with  the  chalumeau  in  orches- 
tration, and  marked  chal.),  while  the 
clarion  register  from  which  the  instru- 
ment is  named  ranges  from  b'  to  c'", 
and  the  superacute  or  highest  register 
from  d'"  to  c"".  The  two  upper  regis- 
ters are  indicated  in  scores  by  the 
abbreviation  "clar."  The  length  of 
the  tube  determines  the  instrument's 
scale,  thus  the  shorter  clarinet  is  in 
C,  a  longer  in  B  flat  and  a  still  longer 
one  in  A.  Complicated  scales  for  one 
instrument  become  simple  on  another, 
and  the  compass  is  extended  by  hav- 
ing^ instruments  in  different  keys.  A 
shrill  toned  instrument  useful  in  mili- 
tary bands  is  set  in  E  flat,  and  there 
are  clarinets  in  D,  E,  F,  and  A  flat. 
The  instrument  in  F  is  the  tenor  clari- 
net, also  known  as  Basset  Horn,  Corno 
di  Bassetto  or  Alto  Clarinet.  Bass 
clarinets,  sounding  an  octave  below 
the  ordinary  instruments  are  usually 
set  in  B  flat  or  A.  Johann  Christian 
Bach  is  said  to  have  first  employed 
the  clarinet  as  a  regular  orchestral  in- 
strument in  1763,  but  it  remained  for 
Mozart  to  give  it  permanence  and 
importance. 

Clarinettista.     It.     Clarinetist. 

Clarinettiste.     Fr.     Clarinetist. 

Clarinetto.    It.    CLARINET. 

Clarino.    /*.    Trumpet. 

Clarion  or  Clarino.  4  ft.  pitch 
reed  organ  stop. 

Clark  (Bev.  Frederick  Scotson) 
composed;  played  organ;  founded 
school  for  organ  and  church  music. 
B.  Nov.  16,  1840,  London;  d.  July  5, 
1883,  London. 

Clark  (J.  lEoir)  composed  quintet 
in  F  for  piano  and  strings  and  suite 
for  flute  and  piano.  B.  Aberdeen 
about  1863. 


CLARK 


123 


CLAY 


Clark  (Bicliard)  composed,  wrote 
on  music,  edited  collections  of  vocal 
music;  sang  in  Eng.  Chapel  Koyal. 
B.  April  5,  1780,  Datchet,  Bucks, 
Eng.;    d.  Oct.  5,  1856. 

Clarke  (Dr.  Hugh  Archibald)  was 
professor  of  music  at  University  of 
Pennsylvania  from  1875;  wrote  text 
books  on  harmony  and  counterpoint; 
composed  the  oratorio  "  Jerusalem," 
music  to  the  "  Acharnians,"  performed 
by  the  university  1886,  music  to 
"  Ephigenia  in  Taurus,"  performed  by 
the  university  1908;  pupil  of  his 
father  Dr.  J.  P.  Clarke.  B.  1839,  Tor- 
onto, Canada;  add.  Philadelphia,  Pa. 

Clarke  (Jeremiah)  composed  first 
setting  of  Dryden's  "Alexander's 
Feast,"  an  "Ode  on  the  Glorious  As- 
sumption of  the  Blessed  Virgin," 
church  and  dramatic  music;  sang 
and  played  organ  in  Eng.  Chapel 
Bx)yal;  killed  himself  because  of  dis- 
appointment in  love.  B.  about  1669; 
d.  London,  Dec.  1,  1707. 

Clarke- Whitfeld  (Dr.  John)  com- 
posed cathedral  services  and  anthems ; 
organist  Hereford  Cathedral,  professor 
of  music  at  Cambridge.  B.  Dee.  13, 
1770,  Gloucester,  Eng.;  d.  Feb.  22, 
1836,  Holmer  near  Hereford. 

Classical  is  a  term  applied  to  the 
music  of  the  older  masters  and  to  the 
sonata  and  opera  forms  to  which  they 
adhered  as  opposed  to  the  freer  style 
of  the  ROMANTIC  school. 

Claudin.  Professional  name  of  LE 
JEUNE  and  SERMISY. 

Claudine  von  Villabella.  Franz 
Schubert's  music  to  a  drama  by 
Goethe,  was  composed  in  1815,  but 
never  performed,  and  all  but  the  first 
act  is  now  lost. 

Clauss-Szarvady  (Wilhelmine) 
played  piano;  noted  for  interpreta- 
tion of  Scarlatti,  Bach,  and  Beetho- 
ven. B.  Prague,  Dec.  13,  1834;  m. 
Friedrich  Szarvady,  1857,  lived  in 
Paris. 

Clausula.    L.    CADENCE. 

Clavecin.  Fr.  Harpsichord;  key- 
board of  chime  of  bells  or  carillon. 

Claviatur.  Oer.  Keyboard; 
fingering. 

Clavicembalum.  L.  Harpsichord 
6r  clavicembalo. 


Clavichord.  Obsolete  instrument 
for  which  Johann  Sebastian  Bach 
wrote  his  "  Wohltemperirtes  Clavier," 
thus  enforcing  the  practicability  of 
Equal  TEMPERAMENT  tuning; 
which  Beethoven  preferred  among  all 
keyed  instruments;  and  which  Mozart 
played,  was  not  unlike  a  square 
piano  in  appearance,  but  differed  in 
principle,  being  a  development  of  the 
monochord.  The  strings  were  set  in 
vibration  by  tangents  which  at  the 
same  time  fixed  their  vibrating 
lengths,  the  shorter  vibrating  portion 
being  immediately  damped  by  an  in- 
terlaced band  of  cloth.  The  tone  pro- 
duced was  faint  but  sweet,  and  could 
be  swelled  or  diminished  at  the  will 
of  the  performer.  In  the  earlier  in- 
struments one  set  of  strings  was  made 
to  serve  for  two  or  more  notes,  F 
sharp  being  produced  on  the  F  string, 
for  example,  by  a  tangent  stopping 
that  string  at  shorter  length.  In  , 
Bach's  time,  however,  the  clavichord 
was  made  "  bundf rei,"  that  is  with- 
out frets,  each  pair  of  strings  for  the 
chromatic  scale  having  its  own  tan- 
gent. A  clavichord  dated  1537  may 
be  seen  in  the  Metropolitan  Museum, 
New  York.  Many  of  the  later  instru- 
ments were  made  with  two  or  more 
keyboards  or  manuals,  and  with  pedal 
notes  as  well. 

Clavicylinder.  CHLADNI'S  in- 
strument composed  of  glass  tubes  or 
cylinders.  Another  instrument  of  the 
same  name  produced  tones  by  the  vi- 
bration of  glass  plates  in  motion  by 
hammers  operated  by  keyboard. 

Clavicytherium.     Clavichord. 

Clavier.  Qer.  Any  keyboard 
stringed  instrument,  such  as  the  piano 
or  clavichord. 

Clavier.  Fr.  The  organ  or  piano 
keyboard. 

Clavierauszug.    Ger.    Piano  score. 

Clay  (Frederic)  composed  music  for 
the  "  Black  Crook,"  1870,  and  other 
dramatic  pieces,  the  songs  "  Long 
Ago,"  the  "  Sands  of  Dee,"  "  She  wan- 
dered down  the  mountain  side";  the 
cantatas  "  The  Knights  of  the  Cross," 
1866,  and  "  Lalla  Rookh,"  which  con- 
tains "  I  '11  sing  thee  sougs  of  Araby," 
1877.     B.  Paris,  1838;    son  of  James 


CLAYTOS"                     123  CLEMENTl 

Clay,   M.P.;    d.   Great  Marlow,  Eng.,  religieuae,"  composed;    edited  church 

Nov.  24,  1889.  music;     played    organ    and    directed 

Clayton    (Thomas)    adapted    and  music  at  the  Sorbonne.     B.  Jan.  13, 

composed  dramatic  pieces   for  Drury  1822,  Paris;  d.  Jan.  23,  1885. 

Lane,  London;    played  in  the  King's  Clement  (Franz)  composed;  played 

band,    1692-72.      B.    about    1670;     d.  violin  with  distinction;    conducted  the 

about  1730.  Vienna  Opera;    possessed  remarkable 

Cle    du    Caveau.       Collection    of  memory,    writing    a    piano    score    of 

French  sopgs  taken  from  vaudevilles  Haydn's  "Creation"  without  the  book; 

and  comic  operas  and  popular  tunes  first  performed  Beethoven's  great  vio- 

dating  from  the  time  of  Henri  IV  to  lin   concerto    (which   had  been   dedi- 

1848.    Piron,  Crgbillon  fills,  and  Collg,  cated  to  him),  Dec.  23,  1806.    B.  Nov. 

French  song  writers,  formed  a  club  in  17,  1780;   d.  Nov.  3,  1842. 

1733,    which    dined    in    the    Cafg    le  Clement     (Johann    Oeorg)     com- 

Caveau,  and  the  meeting  place  gave  posed    14    masses,    28   offertories,    18 

the  name  to  many  later  organizations  graduals,   Te   Deums,  a   requiem   for 

of  a  like  nature,  and  from  these  clubs  Emperor  Charles  VI;   chapelmaster  at 

came  the  name  of  the  collection,  which  Breslau  for  50  years ;    knight  of  the 

embraces  2350  songs.  Golden  Spur;    also  called  Clemen  and 

Clefs  are  the  characters  employed  Clementi.  B.  Breslau  about  1710.  One 
in  NOTATION  to  indicate  absolute  son  became  first  violin  at  Stuttgart, 
pitch,  and,  in  modern  music^  are  three  another  chapelmaster  at  Carlsruhe. 
in  number,  being  modified  forms  of  the  Clementi  (Hvzio)  composed  100 
letters  C,  G,  and  F,  from  which  they  studies  published  as  "  Gradus  ad  Par- 
take their  names.  On  whatever  line  nassum,"  1817,  which  are  the  founda- 
it  may  be  placed,  the  C  clef  or  tenor  tion  of  modern  piano  playing;  ranked 
clef  (Soprano,  German  Soprano,  Alto,  as  the  legitimate  successor  to  Scar- 
Mean,  Counter  Tenor  clef)  indicates  latti  as  composer  for  and  performer 
c',  and  the  purpose  in  altering  the  on  the  piano;  founded  the  London 
position  of  the  letter  on  the  staff  is  music  publishing  house  of  CLEMENTI 
to  bring  as  many  notes  as  possible  &  CO.;  taught  with  great  success; 
within  the  staff,  thus  avoiding  ledger  enjoyed  the  admiration  of  Beethoven 
lines.  The  G  clef  or  treble  of  the  and  the  friendship  of  all  the  great 
piano  indicates  g'  and  is  placed  on  the  musicians  of  his  generation  except 
second  line  of  the  staff.  The  F  or  bass  Mozart,  with  whom  he  played  in  a 
clef  of  the  piano  indicates  f  and  occu-  drawn  contest  before  Emperor  Joseph 
pies  the  fourth  line  of  the  staff.  II.  Son  of  a  goldsmith  with  a  taste 
Placed  on  the  third  line  it  becomes  the  for  music  who  placed  him  under  Bu- 
baritone  clef.  In  ancient  music  two  roni,  choirmaster  in  a  Roman  church, 
other  clefs  were  employed,  a  D  clef  he  became  a  pupil  of  Cordicelli  in 
indicating  d"  and  the  gamut  clef  from  1759.  When  14  he  composed  a  mass 
the  Greek  gamma,  indicating  G.  Both  which  aroused  the  admiration  of  Peter 
have  become  obsolete.  Beckford,  M.P.,  who  took  him  to  his 

Clegg  (John)  played  and  composed  country  home  in  Dorsetshire,  Eng.,  to 

for  violin,   although   his  works   have  perfect  himself  in  his  studies.    In  1770 

been  lost;    pupil  of  Dubourg  and  Bo-  Clementi    gave   brilliantly   successful 

noncini.     B.   1714,  Dublin;    d.   1750,  concerts  in  London,  and  from  1777  to 

London.  1780    was    cembalist   at   the    Italian 

Clemens  (Jacob)  composed  church  Opera,  London.    During  the  following 

and  secular  music;     chapelmaster  to  year   he   toured   Europe,   having   the 

Charles  V  at  Vienna ;    called   "  Non  famous    encounter    with    Mozart    in 

Papa"     (not    the    Pope),    native    of  Vienna.     Thereafter  his  home  was  in 

Flanders,  16th  century.  England,  although  he  made  occasional 

Clement   (Felix)   wrote   "  Diction-  concert  tours  of  the  continent.    Losing 

naire  lyrique,"  a  "  Mfithode  d'orgue,"  heavily  in  the  failure  of  Longman_  & 

"Histoire    ggnfirale    de    la    musique  Broderip,  with  whom  he  had  an  in- 


CLEHENTI  &  CO. 


134 


COCKS 


terest,  he  founded  a  new  publishing 
house  and  recouped  his  losses.  From 
1810  he  devoted  himself  to  his  busi- 
ness, composing  only  in  leisure  mo- 
ments. B.  Rome,  1752 ;  m.  daughter 
of  J.  G.  G.  Lehmann,  cantor  of  Berlin 
Nicolaiikirehe,  1804;  d.  Mar.  10,  1832, 
Evesham,  Eng. 

Clement!  &  Co.  manufactured 
pianos  and  violins  and  published  mu- 
sic in  London.  The  house  was  founded 
by  MUZIO  CLEMENTI,  and  after 
various  changes  in  personnel,  became 
COLLARD  &  COLLARD  in  1832. 

Clemenza  di  Tito.  W.  A.  Mozart's 
two-act  opera  to  book  by  Mazzola, 
adapted  from  Metastasio,  was  first 
performed  Sept.  6,  1791,  at  Prague, 
one  day  after  its  completion.  It  was 
Mozart's  23d  and  last  opera. 

Clicquot  (FraiiQois  Henri)  built 
organs  in  many  French  churches.  B. 
1828,   Paris;     d.   1891. 

Cliffe  (Frederick)  composed  sym- 
phonies in  C  minor  (Op.  1)  and  in.  E 
minor,  "  Cloud  and  Sunshine,"  an 
orchestral  poem ;  "  The  Triumph  of 
Alcestis,"  scena  for  con.  and  orchestra, 
Norwich  Festival,  1902;  and  an  "Ode 
to  the  North-East  Wind";  pupil  of 
Sullivan,  Stainer,  Prout,  ajid  Taylor; 
organist  and  piano  virtuoso;  taught 
piano  Royal  College  of  Music,  London; 
toured  Australia,  1898,  Africa  and 
America,  1900-3.  B.  May  2,  1857, 
Bradford,  Eng.;    add.  London. 

Clifford  (Bev.  James)  compiled 
and  published  an  important  collection 
of  "  The  Divine  Services  and  Anthems 
usually  sung  in  the  Cathedrals  and 
collegiate  Choirs  of  the  Church  of 
England,"  1663;  minor  canon  St. 
Paul's  Cathedral.  B.  1622,  Oxford; 
d.  1698. 

Clifton  (Jolin  C.)  composed  vocal 
music ;  invented  the  "  Eidomusicon  " 
to  teach  sight  reading.  B.  1781,  Lon- 
don;   d.  Nov.  18,  1841. 

Clive  (Eatherlne)  sang  the  part 
of  Dalila  in  the  first  production  of 
Handel's  oratorio  "  Samson " ;  first 
made  known  Dr.  Arne's  song  "  Where 
the  Bee  sucks  " ;  made  her  first  suc- 
cess in  Colley  Cibber's  ballad  opera 
"  Love  in  a,  Riddle  " ;  and  as  "  Kitty 
Clive "    was    immensely    popular    in 


comedy  and  comic  opera.  B.  1711, 
London ;  daughter  of  William  Raftor ; 
m.  George  Clive,  1734;   d.  Dec.  6,  1785. 

Clocca.     L.    Bell. 

Cloche.    Fr.    Bell. 

Clochette.     Fr.    Handbell. 

Clock.  To  swing  the  hammer  of 
a  stationary  bell. 

Clokerre.    Old  Eng.  for  belfry. 

Close  Cadence.  Half  or  imper- 
fect CADENCE. 

Close  Play.  Smooth  or  legato  style 
in  lute  playing. 

Cluer  (John)  invented  improve- 
ments in  music  type,  printed  Handel's 
operas,  London,  1724,  to  his  death, 
about  1730,  when  his  engraver,  Thomas 
Cobb,  continued  his  business. 

Clynkebell.    Chime. 

C  Moll.    Ger.    C  minor. 

Cobb  (Gerard  Francis)  composed 
Psalm  Ixii  with  orchestra;  chairman 
board  of  music  studies,  Cambridge.  B. 
Nettlestead,  Kent,  Eng.,  Oct.  15,  1838; 
add.  Cambridge. 

Cobbold  (William)  composed  mad- 
rigals, the  anthem  "  In  Bethlehem 
towne  " ;  one  of  10  composers  of  "  The 
Whole  Booke  of  Psalmes,"  published 
by  Thomas  Este;  played  organ  Nor- 
wich Cathedral.  B.  Norwich,  Jan.  5, 
1559;    d.  Beccles,  Nov.  7,  1639. 

Cocchi  (Giacchino)  composed 
operas;  taught  with  great  success; 
conducted  Mrs.  Cornelys'  London  con- 
certs. B.  Padua  about  1720;  d. 
Venice,  1804. 

Coccia  (Carlo)  composed  the  operas 
"Clotilde,"  Venice,  1815;  "Donna 
Caritea "  (in  six  days),  Turin,  1818, 
and  many  other  dramatic  works  and 
cantatas;  conducted  at  Lisbon  and 
London;  court  musician  to  Joseph 
Bonaparte.  B.  April  14,  1782,  Naples; 
d.  Novara,  April  13,  1873. 

Coccia  (Maria  Bosa)  composed  a 
Magnificat  for  four  voices  and  organ, 
an  eight  part  "  Dixit  Dominus " ; 
given  the  title  "  maestra  di  capella " 
by  Bologna  Academia  Filarmonioa; 
honoured  by  the  Saint  Cecilia,  Rome, 
1775,  which  published  an  account  of 
her  examination.  B.  Rome,  Jan.  4, 
1759. 

Cocks  (Bobert)  founded  the  music 
publishing   house    in    London    known 


CODA 


135 


COLLAKD 


as  Robert  Cocks  &  Co.,  1823,  which 
issued  more  than  16,000  works.  B. 
1797 ;  d.  London,  April  7,  1887.  The 
business  was  continued  until  1898  by 
Robert  M.  Cocks,  when  the  estab- 
lishment was  purchased  by  Messrs. 
Augener. 

Coda.  It.  "Tail."  Originally  a 
few  bars  or  chords  preceding  a  ca- 
dence to  give  a  formal  conclusion  to 
a  composition,  especially  those  in 
which  the  theme  was  often  repeated; 
Beethoven  developed  the  coda  until  it 
often  becomes  part  of  the  movement, 
even  introducing  new  subject  matter. 
Elaborate  codas  are  common  in  the 
works  of  his  successors. 

Codetta.    It.    Short  coda. 

Codon.  Or.  Small  bell  such  as 
those  attached  to  harness;  trumpet 
with  bell  mouth-piece  or  the  bell  itself. 

Coenen  (Cornelius)  conducted  Am- 
sterdam orchestra,  1859 ;  Utrecht  Na- 
tional Guarde  band,  1860.  B.  1838  at 
The  Hague. 

Coenen  (Franz)  composed  a  sym- 
phony, cantatas,  quartets,  setting  of 
Psalm  xxxii;  directed  Amsterdam 
Conservatory;  played  violin.  B.  Rot- 
terdam, Deo.  26,  1826;  son  of  church 
organist.  Willem  composed  the  ora- 
torio "  Lazarus,"  songs ;  concert  pian- 
ist in  America  and  in  London.  B.  Rot- 
terdam, Nov.  17,  1837,  brother  of 
FRANZ;    settled  in  London,  1862. 

Coenen  (Johannes  IVEeinardus) 
composed  the  opera  "  Bertha  und  Sieg- 
fried," ballet  and  incidental  music, 
cantatas,  chamber  music,  two  sym- 
phonies; conducted  and  built  up  the 
"  Palais  Orchestra "  at  Amsterdam. 
B.  Jan.  28,  1824,  at  The  Hague;  d. 
Jan.  9,  1899,  Amsterdam. 

Coerne  (Louis  Adolphe)  composed 
the  opera  "  The  Maid  of  Marblehead," 
symphonic  poem  "  Hiawatha  " ;  organ- 
ist; directed  Buffalo  Liedertafel;  pu- 
pil of  Paine,  Kneisel,  Rheinberger,  and 
Hieber.    B.  Newark,  N.  J.,  1870. 

Cogan  (Dr.  Philip)  composed 
piano  concerto  and  sonatas;  taught; 
played  organ  St.  Patrick's  Cathedral, 
Dublin.  B.  1750,  Cork,  Ireland;  d. 
Dublin,  1834. 

Cogll  Stromenti.  /*.  With  the 
instruments. 


Cohen  (Jules  Emile  David)  com- 
posed the  operas  "  Maltre  Claude," 
"  Jos6  Maria,"  "  Les  Bleuets,"  choral 
works,  symphofties,  masses;  chorus- 
master  at  the  Paris  Opfira  20  years; 
professor  at  the  Conservatoire,  35 
years.  B.  Nov.  2,  1835,  Marseilles; 
d.  Jan.  13,  1901,  Paris. 

Coi  Bassi.    It.    With  the  basses. 

Coi  Violini.     It.    With  the  violins. 

Col.  It.  "  With  the,"  as  Aroo,  with 
the  bow;  Destra,  with  the  right  hand; 
Voce,  with  the  voice. 

Colasse  (Pascal)  composed  nine 
operas  including  "  Thetis  et  Pflfie," 
"  Jason,"  "  La  naissance  de  Venus  " ; 
conducted  at  Paris  Op6ra,  1677;  a 
"  surintendant  de  la  chapelle  royale  " 
and  "  maltre  de  musique  de  chambre  " 
to  Louis  XIV;  pupil  of  LuUy.  B. 
Jan.  22,  1649;  d.  Versailles,  July  17, 
1709. 

Colbran  (Isabella  Angela)  sang 
sop.  in  opera,  1806-24;  composed; 
favourite  of  the  King  of  Naples;  m. 
Rossini,  1822,  and  went  with  him  to 
Paris.  B.  Madrid,  Feb.  2,  1785; 
daughter  of  Gianni  Colbran,  court 
musician  to  the  King  of  Spain;  d. 
Bologna,  Oct.  7,  1845. 

Cole  (Blanche)  sang  sop.  in  opera 
with  Carl  Rosa  and  headed  her  own 
company.  B.  Portsmouth,  1851;  m. 
Sidney  Nalor,  1868;  d.  Aug.  31,  1888, 
London. 

Coleman  or  Colman  (Dr.  Charles) 
composed  songs,  masques,  and  dra- 
matic music ;  composer  and  court  mu- 
sician to  Charles  I.  D.  July  9,  1664. 
Charles  played  in  the  Royal  Band. 
Died  about  1694.  Edward  composed 
songs;  sang  in  the  Chapel  Royal. 
His  wife  was  one  of  the  first  women 
to  appear  on  the  English  stage.  Son 
of  DR.  CHARLES;    d.  Aug.  29,  1669. 

CoUa  (Giuseppe)  composed  the 
operas  "  Adriano  in  Siria,"  Milan, 
1763;  "  Lieida  e  Mopso,"  1769;  "  Enea 
in  Cartagine,"  Turin,  1770;  "Tolo- 
meo,"  Milan,  1774,  in  which  AGUJARI 
made  a  great  success,  afterwards  mar- 
rying the  composer.  B.  Parma,  1730; 
d.  Mar.  16,  1806. 

Collard  (P.  J.)  patented  piano  im- 
provements in  1811 ;  employed  in  the 
business  of  CLEMENTI  &  CO.,  with 


COLLEGE 


126 


COLUMBIA 


■which  he  was  associated.  D.  1879. 
On  the  death  of  Clementi  the  firm  be- 
came Collard  &  CoUard,  and  in  1908 
the  firm  was  headed  by  John  Clementi 
Collard. 

College  of  Organists,  Boyal. 
Founded  1864  and  chartered  1893; 
grants  diplomas  to  organists  after  ex- 
amination or  honoris  causa.  The 
headquarters  are  in  London. 

College  Youths,  Ancient  Society 
of.  Founded  in  1636  for  change-ring- 
ing at  the  Church  of  the  College  of 
Sts.  Spirit  and  Mary,  is  the  largest  as 
well  as  the  oldest  and  most  important 
of  such  organizations  in  England.  The 
founders  included  the  then  Lords  Salis- 
bury, Brereton,  and  Dacre,  and  Sir 
Cliff  Clifton,  and  it  continues  to  num- 
ber many  of  the  nobility  in  its  mem- 
bership as  patrons  and  performers. 

Col  Legno.  It.  Indicates  that 
the  strings  of  the  viol  are  ta  be  struck 
with  the  stick  of  the  bow. 

Collet  de  Violon.  Fr.  Violin's 
neck. 

Collinet.  Name  for  flageolet  de- 
rived from  that  of  famous  performer. 

Colomba.  A.  C.  Mackenzie's  opera, 
to  book  by  Francis  HueflFer,  founded 
on  Prosper  MerimSe's  tale,  was  written 
for  the  Carl  Rosa  Opera  Company  and 
produced  at  Drury  Lane,  April  5, 
1883. 

Colombe.  Charles  Gounod's  two- 
act  comic  opera  to  book  by  Barbier 
and  Carrg  was  produced  June  7,  1866, 
at  the  Opfira  Comique,  Paris. 

Colombi  (Vincenzo)  built  the  or- 
gan in  the  Cathedral  of  St.  John's 
Lateran,  Rome,  1549. 

Colonna  (Giovanni  Paolo)  com- 
posed the  opera  "  Amilcare,"  Bologna, 
1693;  six  oratorios  and  church  music; 
played  organ;  chapelmaster  of  San 
Petronio,  Bologna.  B.  Brescia,  1637; 
d.  Nov.  28,  1695. 

Coloune  (Judas,  called  Edtxard) 
founded  the  Paris  concerts  bearing  his 
name,  at  which  many  recent  French 
composers  gained  their  first  hearing, 
and  distinguished  himself  by  carefully 
reviving  all  the  choral  and  orchestral 
works  of  Berlioz,  including  "  Le  Dam- 
nation de  Faust";  studied  violin  at 
the  Paris  Conservatoire,  won  the  first 


prize  in  harmony,  1858;  played  first 
violin  in  Opgra  orchestra;  established 
the  "  Concert  National  "  with  Hart- 
mann,  1873-75,  continuing  them  alone 
after  ther  latter  date;  Chevalier  of 
the  Legion  of  Honor,  1880;  m.  Elise 
Vergin,  the  singer;  conducted  at  the 
Grand  Opera,  1892;  ranked  with  the 
best  of  modern  conductors.  B.  July 
24,  1838,  Bordeaux;    add.  Paris. 

Colophane.  Rosin  for  fiddle  bows 
was  so  called  because  the  best  was 
obtained  in  Colophon,  Asia  Minor. 

Coloratura.  It.  Florid  passages 
in  vocal  music,  consisting  of  divisions, 
runs,  trills,  and  cadenzas. 

Coloscione  or  Colachon.  Variety 
of  guitar. 

Colour.  "  Timbre."  The  word  had 
a  variety  of  meanings  in  mediaeval 
music,  and  is  now  employed  to  suggest 
imaginary  analogies  between  tones  and 
tints. 

Colporteur.  George  Onslow's  three- 
act  lyric  drama  to-  book  by  Planard 
was  produced  Nov.  22,  1827,  in  Paris. 

Coltellini  (Celeste)  sang  mez.  sop. 
in  opera  with  great  success  in  Vienna; 
debut  Naples,  1781;  m.  M.  Mgricofre, 
1795,  and  retired.  Paisiello  composed 
"Nina"  for  her.  B.  Leghorn,  1764; 
daughter  of  the  poet;    d.  1817. 

Coluiabani  (Orazio)  composed 
church  music  and  songs;  one  of  the 
composers  who  dedicated  a  version  of 
the  Psalms  to  Palestrina.  B.  Verona; 
became  Cordelier  monk,  16th  century. 

Columbia  University  established 
its  department  of  music  in  1896  with 
the  most  illustrious  of  American  com- 
posers. Dr.  Edward  A.  MACDOWELL, 
as  professor  of  music.  Instruction  was 
given,  from  the  first,  in  the  history 
and  criticism  of  music,  and  in  har- 
mony, counterpoint,  and  composition. 
In  1904  Prof.  MacDowell  withdrew 
from  Columbia  University,  and  Cor- 
nelius RUBNER  was  elected  to  suc- 
ceed him.  With  Professor  Rubner  is 
associated  Leonard  B.  McWHOOD 
(formerly  assistant  to  Prof.  Mac- 
Dowell) as  Adjunct  Professor,  these 
two  constituting  the  entire  faculty  in 
1908.  The  original  lines  of  instruc- 
tion have  been  broadened  and  enlarged 
since   the   foundation  of  the   depart- 


COIiYNS 


1211 


COMMON  TIME 


ment,  and  some  practical  courses  in 
eaiT-training  and  in  orchestral  and 
choral  performance  added.  Individual 
instruction  in  musical  performance 
has  never  been  undertaken.  The 
courses  in  music  may  be  counted 
toward  the  academic  degrees  (Bach- 
elor of  Arts  and  Bachelor  of  Science) 
as  well  as  toward  the  degrees  in  music 
(Bachelor  of  Music,  Master  of  Arts  in 
Music,  and  Doctor  of  Philosophy  in 
Music).  In  addition,  music  may  be 
presented  as  a  subject  for  examination 
by  a  candidate  for  admission  to  the 
Academic  College  or  to  the  School  of 
Music. 

Colyns  (Jean  Baptists)  composed 
the  operas  "Sir  William,"  1877; 
"  Capitaine  Raymond,"  1881;  played 
violin;  taught  in  Dresden  Conserva- 
tory and  became  violinist  to  King  of 
Saxony,  1876.  B.  Nov.  24,  1834,  Brus- 
sels;   d.  Brussels,  Oct.  31,  1902. 

Combarieu  (Jules  Leon  Jean) 
wrote  on  musical  history,  theory,  and 
aesthetics;  taught  at  the  Lycee  Grand, 
Paris.  B.  Feb.  3,  1859,  Cahors;  pupil 
of  Philip  Spitta;    add.  Paris. 

Combination  Pedals  invented  by 
the  French  organ  builders  CAVAIL- 
LE-COL  enable  the  performer  by 
means  of  a  pedal  controlling  a  ventil 
to  bring  into  play  or  shut  off  any 
combination  of  stops  at  will. 

Come.  It.  "  As  or  like."  Prima, 
at  first;    Sopra,  as  above. 

Comes.    L.    ANSWER. 

Comes  (Juan  Bautista)  composed 
church  music;  chapehnaster  Valencia 
Cathedral.  B.  1568,  Valencia;  d. 
1643. 

Comettant  (Pierre  Jean  Oscar) 
composed;  wrote  criticism  for  the 
Paris  "  Siede,"  "  La  musique,  les  mu- 
siciens,  et  les  instruments  de  musique 
chez  les  differents  peuples  du  monde," 
Paris,  1869;  "Trois  ans  aux  :fitats 
Unis,"  describing  his  sojourn  in  Amer- 
ica, 1852-5;  played  piano;  pupil 
Paris  Conservatoire.  B.  April  18, 
1819,  Bordeaux;  d.  Paris,  Jan.  24, 
1898. 

Comic  Opera  in  the  broadest  sense 
is  one  in  which  the  incidents  and  dia- 
logues are  humorous,  but  the  name  is 
suflSciently  elastic  to  include  the  form- 


less "  creations  "  which  are  depend- 
ant upon  the  costumer  and  ballet 
master  rather  than  music  for  their 
chief  interest.  The  term  might,  with 
propriety,  be  restricted  to  works  of  the 
Gilbert  and  Sullivan  type.  The  earli- 
est comic  opera  still  extant  is  "Le 
jeu  de  Robin  et  Marion "  of  ADAM 
DE  LA  HALE,  first  performed  at  the 
French  court  in  Naples,  1285,  re- 
scored  for  modern  orchestra  and  per- 
formed at  Arras,  1896.  Op€ra  comique 
as  it  developed  in  France  consisted  of 
dramatic  pieces  with  music  and  danc- 
ing and  instrumental  accompaniment, 
often  along  tragic  rather  than  comic 
lines,  like  the  German  singspiel,  all  or 
nearly  all  the  dialogue  being  spoken; 
differing  from  the  Italian  opera  buffa, 
which  is  sung  throughout,  never 
spoken.  Exceptions  to  the  last  state- 
ment will  be  found  in  occasional  opera 
buffa  modelled  on  the  French  style. 

Comma.  The  interval  between  a 
major  and  minor  tone,  the  ratio  being 
80:  81  in  the  common  comma  or  comma 
of  Didymus.  The  Pythagorean  comma 
or  comma  maxima  is  the  difference 
resulting  from  tuning  up  from  the 
same  tone  12  perfect  fifths  and  seven 
octaves. 

Commer  (Franz)  composed  music 
to  "  The  Frogs  "  of  Aristophanes  and 
"  Eleetra  "  of  Sophocles ;  edited  im- 
portant collections  of  music;  founded 
the  Berlin  Tonkunstlerverein  in  1844, 
jointly  with  Kullak;  librarian  to 
Konigliche  Musik-Institut  and  choir- 
master St.  Hedwig's  Church,  Berlin. 
B.  Cologne,  Jan.  23,  1813;  d.  Aug.  17, 
1887,  Berlin. 

Commodamente.  It.  Easily, 
quietly. 

Commode.  /*.  "  Easily  or  at  con- 
venient speed." 

Common  Chord.  A  tone  and  its 
major  or  minor  third  and  perfect  fifth. 

Common  Time  has  two  beats  or 
any  multiple  of  two  beats  to  the 
measure.  Simple  Common  Time  in- 
cludes all  rhythms  of  two  or  four,  as 
4—4  or  2-4.  Compound  Common  Time 
is  where  the  value  of  each  beat  is  three 
quavers  or  crochets  although  the  num- 
ber of  beats  be  even  as  6-4,  6-8,  12-8. 
In  ancient  notation  a  circle  0  meant 


COMMtTNIOIT 


138 


COMTE  OBY 


"tempus  perfectum,''  which  had  three 
semibreves  to  the  measure.  A  semi- 
circle C  meant  "  tempus  imperfectum," 
which  had  two  semibreves  to  the  meas- 
ure, and  this  sign  has  been  retained 
in  modern  notation  for  alia  capella 
time  or  tempo  ordinario,  which  gen- 
erally has  four  minims  to  the  bar 
and  is  played  or  sung  slowly.  If  a 
vertical  line  is  drawn  through  the  C 
it  indicates  alia  breve  time  or  four 
minims  to  the  measure  played  twice 
as  fast. 

Communion  Service.  In  the 
Anglican  Church  in  which  the  Com- 
munion Service  is  a  translation  or 
rather  an  adaptation  of  the  MASS, 
the  English  words  were  originally 
sung  to  the  music  already  familiar 
from  having  been  employed  with  the 
Latin  ritual,  and  the  services  edited 
by  Marbeck  and  Tallis  were  noted  in 
full.  Music  in  the  Anglican  Church' 
gradually  decreased  in  importance  with 
the  growth  of  the  Puritan  movemeilt, 
practically  ceased  to  exist  during  the 
Commonwealth  except  in  Psalmody, 
and  although  restored  by  Charles  II, 
was  rarely  heard  throughout  a  service 
except  in  the  Chapel  Royals  and  Cathe- 
drals and  Collegiate  Churches  until 
about  1840,  when  a  renewed  interest 
in  ritualistic  music  was  manifested, 
which  has  resulted  in  a  careful  re- 
vision of  the  older  music  for  the 
Communion  Service,  and  many  new 
compositions. 

Compagnia  del  Gonf alone,  founded 
at  Rome  in  1264,  played  sacred  dramas 
with  music,  or  "  miracles  "  which  may 
have  suggested  the  later  ORATORIOS. 

Company  of  Musicians  estab- 
lished by  letters  patent  issued  by 
Edward  IV  in  1472  as  "a  perpetual 
guild  or  fraternity  and  sisterhood  of 
minstrels "  (musicians  qualified  to 
sing  or  play  in  public),  and  char- 
tered by  James  I,  July  8,  1604,  con- 
trolled the  exercise  of  the  musical  pro- 
fession in  London,  and  appears  to  have 
been  the  English  prototype  of  the 
modem  musicians'  unions. 

Compass.  The  range  of  sound  of 
which  a  voice  or  instrument  is  capable. 

CompSre  (Loyset)  composed  church 
music  and  songs;    distinguished  pupil 


of  Okeghem;  chorister,  canon,  and 
chancellor  of  the  St.  Quentin  Cathe- 
dral;   d.  Aug.  16,  1518. 

Compiacevole.  It.  Pleasant, 
agreeable. 

Complement  is  whatever  interval 
added  to  another  interval  will  com- 
plete an  octave. 

Compline  completes  the  Horae 
Diumae  of  the  Latin  breviary  and  fol- 
lows the  vesper  service,  with  or 
without  pause.  The  Latin  term  is 
"  Completorium." 

Composer.     An  author  of  music. 

Composition.  An  invention  in 
music  whether  for  voices,  instruments, 
or  both  in  combination.  Literally  "  a 
putting  together."  The  art  of  writ- 
ing music  according  to  scientific  rules. 

Composition  Pedals  were  of  two 
kinds,  single  action,  by  which  an  or- 
ganist could  throw  out  or  draw  in 
certain  stops,  and  double  action,  which 
not  only  threw  out  a  certain  number 
of  ■  stops  but  drew  in  all  the  rest. 
Prior  to  Bishop's  invention  of  these 
pedals  a  shifting  pedal  was  employed 
permitting  a  change  from  the  "  great " 
or  "  loud  "  to  the  "  choir  "  or  "  small " 
organ. 

Composizione.  It. ,  Composition. 
Di  Tavolino,  table  music. 

Compound  Intervals  are  those 
greater  than  an  octave,  those  less  than 
an  octave  being  called  simple. 

Compound  Stops  are  those  which 
control  more  than  one  rank  of  organ 
pipes. 

Compound  Time  is  the  rhythm 
formed  by  combining  two,  three,  or 
four  measures  of  simple  time,  and 
besides  the  principal  accent  on  the 
first  note  of  each  measure,  has  sub- 
ordinate accents  -on  each  group  of 
notes.  It  is  common  or  triple  accord- 
ing to  the  number  of  groups  in  each 
measure:  thus  6-8  consisting  of  two 
measures  of  3-8,  and  12-8,  consisting 
of  four  measures  of  3-8  time  are  com- 
mon; 9-8,  consisting  of  three  meas- 
ures of  3-8,  and  9-4  consisting  of 
three  measures  of  3-4  are  triple. 

Comte  Cry.  Gioacchino  Rossini's 
two-act  opera  to  book  by  Scribe  and 
Delestre-Poirson,  both  score  and  text 
being  adaptations  of  earlier  works  by  • 


CON 


129 


CONCEBT  PITCH 


the  same  men,  was  produced  Aug.  20, 
1828,  at  the  Paris  Acad^mie  Royale. 

Con.  It.  "  With,"  as  con  Anima, 
with  spirit;  con  Amore,  with  affec- 
tion; con  Sordini,  with  mutes;  eon 
Brio,  with  life  and  fire. 

Conacher  &  Co.  built  organs  in 
Huddersfield,  Eng.,  beginning  in  1854. 

Concentores  Sodales  founded  by 
William  Horsley,  the  organist,  Dr. 
Callcott  and  other  London  musicians, 
1798,  met  in  various  taverns  and  sang 
canons,  glees,  and  madrigals  composed 
by  the  members.    Disbanded,  1847. 

Concentus.  L.  Harmony  or  part 
music;    consonance. 

Concert.  A  performance  of  music 
of  a  miscellaneous  character,  to  which 
the  public  is  admitted  by  payment,  is 
the  modern  acceptation  of  a  term 
which  seems  to  have  originally  referred 
to  several  instnmients  playing  one 
tune  in  unison  or  to  a  set  of  viols  or 
other  instruments.  Famous  concerts 
of  the  world's  music  centres  and  the 
organizations  which  give  them  are 
referred  to  under  the  names  of  the 
cities  to  which  they  belong. 

Concert,     ©er.    Concerto. 

Concertante.  It.  Composition 
suitable  for  concert  performance ;  mu- 
sic for  two  or  more  instruments  with 
solo  parts. 

Concerted  Ilusic.  Vocal  or  in- 
strumental music  for  two  or  more 
performers. 

Concertina.  Portable  free  reed  in- 
strument of  hexagonal  form,  invented 
by  Sir  Charles  Wheatstone,  1829,  con- 
sisting of  a  bellows  with  keyboard  at 
either  extremity,  made  in  treble,  tenor, 
bass,  and  doublebass  sizes  with  a  com- 
bined range  from  C  to  c'".  The  Ger- 
man instrument  of  the  same  name, 
unlike  the  English,  produces  differ- 
ent tones  by  inspiratory  and  expira- 
tory action,  and  is  tuned  in  one  key. 

Concertino.  Solo  instruments  re- 
quired in  the  performance  of  a  CON- 
CERTO GROSSO;  a  diminutive  con- 
certo in  freer  form  than  a  concerto, 
and  often  having  a  single  movement. 

Concertista.    It.    Virtuoso. 

Concertmeister.  Qer.  The  first 
violin  and  leader  of  the  orchestra. 

Concerto.      /*.      An    instrumental 


composition  in  three  movements  based 
upon  the  sonata  form  and  serving  to 
display  the  performer's  skill,  with  or- 
chestral accompaniment.  Concertos 
for  more  than  one  solo  instrument 
are  known  as  double,  triple,  quad- 
ruple, as  the  case  may  be.  Originally 
the  term  was  applied  to  vocal  com- 
positions with  organ  accompaniment 
termed  concerti  ecclesiastici  or  con- 
certi  da  chiesa  or  church  concertos. 
A  "  concerto  da  camera  "  for  two  vio- 
lins and  bass  published  in  1685  by 
Giuseppe  Torelli  was  the  model  upon 
which  the  CONCERTI  6R0SSI  of 
Corelli,  Geminiani,  and  Vivaldi  were 
based,  and  to  which  Bach  and  Handel 
adhered.  Mozart  crystallized  the  form 
of  the  concerto  as  it  is  known  to-day, 
giving  larger  prominence  to  the  or- 
chestra, which,  however,  was  still 
chiefly  confined  to  accompaniment. 
The  introduction  of  cadenzas  by  per- 
formers led  Mozart  to  write  35  ca- 
denzas for  his  own  concerti,  an  ex- 
ample which  Beethoven  followed. 
With  Beethoven  the  orchestral  part 
in  the  concerto  assumed  symphonic 
proportions,  and  the  composers  suc- 
ceeding him  have  conformed  to  his 
ideas  in  this  respect.  Brahms  has 
even  gone  to  the  extreme  in  his  D 
minor  concerto  of  deferring  the  en- 
trance of  the  piano  until  the  orchestra 
has  played  91  measures.  Exceptions 
to  the  definition  given  in  the  first 
sentence  of  this  article  may  be  noted 
in  Liszt's  "Concert  Pathgtique,"  which 
is  for  two  pianos  without  orchestra, 
and  in  Litolff's  Concert-Symphonie  for 
piano  and  orchestra  in  E  flat,  which 
introduces  a  scherzo  as  the  third  of 
four  movements. 

Concerto  Grosso.  Composition  for 
two  or  more  solo  instruments  and  or- 
chestra in  several  movements,  analo- 
gous to  overtures  and  suites. 

Concerto  Spirituale.  It.  Sacred 
concert. 

Concert  Pitch  is  usually  higher 
than  A  at  435  double  vibrations  per 
second  or  French  diapason  normal,  be- 
cause that  pitch  is  estimated  at  a 
temperature  of  59  degrees  F.  and  the 
temperature  of  a  concert  room  is  much 
warmer. 


9 


CONCEKTSFIELEB 


130 


CONDUCTIUa 


Concertspieler.  Ger.  Soloist  con- 
certo player. 

Concertstuck.  &er.  Concert  piece; 
concerto. 

Concha.  L.  Triton's  horn  or  shell- 
shaped  trumpet;    conch. 

Concitato.  It.  Agitated;  disturbed. 

Concone  (Giuseppe)  composed 
vocal  music  and  solfeggi;  taught  in 
Paris;  chapelmaster  and  organist  at 
the  Chapel  Royal,  Turin.  B.  1810, 
Turin;   d.  June  1,  1861. 

Conpord  combines  notes  which  give 
the  ear  complete  satisfaction,  such  as 
perfect  fifths  and  major  and  minor 
sixths  and  thirds,  their  octaves,  and 
combinations  of  them  not  involving 
other  intervals.  Other  concords  rec- 
ognized in  HARMONY  may  be  pro- 
duced by  placing  concordant  notes 
below  those  which  would  otherwise 
be  discordant. 

Condell  (Henry)  composed  "  The 
Enchanted  Isle,"  a  ballet,  farces,  and 
other  dramatic  music  and  the  prize 
glee  "  Loud  Blowe  the  Wyndes " ; 
played  violin  at  London  Opera,  Co- 
vent  Garden,  and  Drury  Lane.  B. 
1757;    d.  June  24,  1824. 

Conducting  has  grown  in  impor- 
tance with  the  evolution  of  the  or- 
chestra and  the  increasing  number  of 
parts  and  of  performers  until  the  con- 
ductor has  virtually  become  a  soloist 
and  the  musicians  under  him  an  in- 
strument, with  this  difference,  that 
the  conductor's  instrument  is  instinct 
with  life,  and  with  intelligence  —  more 
or  less  —  and  should  therefore  be  cap- 
able of  quicker  response  and  more 
subtle  expression  than  any  of  the  solo 
instruments  designed  for  big  tonal 
effects.  Almost  any  one  can  beat  time, 
just  as  almost  any  one  can  sing,  but 
great  conductors  are  still  more  rare 
than  great  singers,  since  the  many 
qualities  which  must  be  combined  in 
the  "  prima  donna  conductor "  are 
seldom  realized  in  one  person.  Pri- 
marily the  conductor  must  set  the 
tempo  for  the  orchestra  or  chorus  or 
both.  In  this  he  will  have  the  guid- 
ance of  the  composer's  indicated  inten- 
tion so  far  as  language  and  notation 
give  it,  generally  supplemented  by  the 
metronome,  by  tradition,  and  also  by 


such  enlightenment  as  may  be  had 
through  careful  study  of  the  work  to 
be  performed.  This  knowledge  he  must 
be  able  to  impart  to  the  musicians 
under  him  in  the  clearest  and  most 
decisive  manner.  Every  motion  of  the 
baton  should  mean  something,  every 
gesture  should  give  direction,  for  it 
is  necessary,  as  Wagner  suggested, 
that  the  musicians  be  taught  to  look 
for  the  melody  in  every  bar,  and  then 
sing  it.  In  obtaining  delicate  effects 
in  light  and  shade,  and  in  rubato,  the 
conductor  has  the  same  right  to  dis- 
cretion which  the  pianist  has  always 
claimed  and  often  abused.  He  may 
likewise  accord  certain  liberties  to  his 
musicians  in  extended  solo  passages, 
for  it  has  been  repeatedly  observed 
that  an  orchestra  in  which  the  con- 
ductor drills  his  men  with  too  much 
severity  loses  in  brilliancy.  Above  all, 
possessing  knowledge  of  music  and 
interpretive  talent  in  the  highest  de- 
gree, the  conductor  must  know  how  to 
command  men,  for  it  is  more  difficult 
to  keep  an  assemblage  of  musicians  in 
the  proper  mood  for  the  best  work 
than  to  tune  a  violin  or  even  a  piano. 
Perfect  understanding  between  con- 
ductor and  musicians  is  absolutely 
essential  to  the  best  results,  and  it 
need  hardly  be  added  that  such  under- 
standing can  only  be  arrived  at  in  a 
permanent  orchestra.  In  mediaeval 
music  where  chorus  and  orchestra  were 
alike  of  small  proportions  a  conductor 
in  the  modern  sense  was  no  more  nec- 
essary than  in  chamber  music  at  pres- 
ent. In  early  French  opera  time  was 
beaten  by  rapping  a  long  baton  or 
stick  on  the  floor,  and  in  Rousseau's 
day  the  baton  had  been  shortened  in 
length  and  was  beaten  against  the  con- 
ductor's desk.  In  Beethoven's  youth 
it  was  part  of  his  duty  as  cembalist  at 
the  Bonn  opera  to  give  the  time,  and 
Bach  habitually  directed  while  playing 
organ.  But  while  conducting  may 
have  been  practised  in  the  modern 
sense  in  the  Sistine  Chapel  at  Rome  as 
early  as  the  16th  century,  it  remained 
for  Mendelssohn,  while  at  the  head  of 
the  Gewandhaus  concerts  in  Leipsic  to 
establish  the  importance  of  the  con- 
ductor's office,  and  his  influence  grew 


CONDUCTOR'S  PART 


131 


CONRIED 


paramount  in  matter  of  interpreta- 
tion until  a  new  school  grew  up  with 
such  leaders  as  Wagner,  von  Billow, 
SeidI,  and  Richter,  whose  successors  in 
the  present  generation  have  been  Ni- 
kisch,  Weingartner,  Mottl,  Muck,  and 
Mahler.  See:  "  Le  Chef  d'Orchestre," 
Hector  Berlioz,  Paris,  1848,  for  dia- 
grams of  various  beats,  arrangement 
of  orchestra,  conducting  in  theatre, 
etc. ;  "  Ueber  das  Dirigiren,"  Richard 
Wagner,  1869,  Engi  trans,  by  Dann- 
i-euther,  1887 ;  "  Ueber  das  Dirigiren," 
Felix  Weingartner,  1896,  dealing  with 
use  and  abuse  of  tempo  rubato;  Carl 
Schroder,  "  Handbook  on  Conducting," 
Eng.  trans.,  London,  1891. 

Conductor's  Part.  Condensation 
of  a  score  on  two  staves,  giving  the 
entrances  of  the  various  instruments 
in  proper  order. 

Conductus.  Obsolete  13th  century 
polyphonic  music  in  from  one  to  four 
parts  sometimes  sung  without  words, 
in  which  the  cantus  flrmus  was  of 
secular  not  church  origin. 

Conduit.    Fr.    Wind  trunk. 

Cone  Gamba.     Bell  gamba. 

Conforti  (Giovanni  Luca)  wrote 
"  Passaggi  sopra  tutti  i  salmi,"  which 
gives  vocal  ornaments  for  use  in 
church  service.  B.  Mileto,  1560; 
joined  the  Papal  choir  at  Rome,  Nov. 
4,  1519. 

Confrerie  de  St.  Julien  was  com- 
posed of  musicians  who  settled  in 
Paris  about  1330,  formed  a  guild  for 
self-protection  at  a  time  when  the 
art  of  the  troubadour  or  minstrel  had 
ceased  to  be  fashionable,  and  monopo- 
lized secular  music  in  France  until  the 
reign  of  Louis  XIV.  In  1658  that 
monarch  confirmed  the  privileges  which 
had  been  granted  the  Confrgrie  by  his 
ancestors,  but  two  years  later  his 
majesty  desired  to  hear  the  perform- 
ance of  a  new  work  by  Jean  Baptiste 
Lulli,  and  the  Confrgrie  having  grown 
so  negligent  of  its  art  as  to  be  unable 
to  comply,  Lulli  was  commissioned  to 
organize  the  band  of  24  men  known 
as  "Le  Petits  violons  du  Roi."  This 
was  the  beginning  of  the  Confrgrie's 
decline,  and  it  was  suppressed  in 
1761. 

Congregational  Husic.    That  sung 


in  church  by  the  people  as  opposed  to 
that  sung  bv  a  trained  choir. 

Conjunct.  In  GREEK  MUSIC  a, 
combination  of  Hexachords;  notes 
close  together. 

Conradi  (August)  composed  the 
opera  "  Rubezahl,"  five  symphonies, 
dance  music ;  conducted  in  Dusseldorf, 
Cologne,  and  Berlin  theatres;  played 
organ.  B.  June  27,  1821,  Berlin;  d. 
May  26,  1873,  Berlin. 

Conradi  (Johann  Georg)  composed 
the  operas  "  Ariane,"  "  Diogenes,"  and 
"  Numa  Pompillus,"  1691;  "Jerusa- 
lem," 1692;  "Sigismund,"  "  Genese- 
rius,"  and  "  Pygmalion,"  1693;  chapel- 
master  at  Oettingen,  Bavaria. 

Conried,  Ritter  von  (Heinrich) 
became  impresario  at  the  Metropolitan 
Opera  House,  New  York,  1903,  made 
a  notable  production  of  "  Parsifal," 
the  first  to  be  given  outside  the 
Pestspielhaus  in  Bayreuth;  produced 
Richard  Strauss's  "  Salome,"  1907,  but 
was  compelled  to  withdraw  it  by  the 
owners  of  the  opera  house.  Appren- 
ticed to  a  weaver  in  Vienna  as  a  boy, 
he  was  fired  with  ambition  to  become 
an  actor,  and,  on  mastering  his  trade, 
obtained  employment  at  the  Vienna 
theatres  in  a  minor  capacity.  After 
acquiring  some  reputation  as  a,  come- 
dian, he  left  Vienna  for  New  York, 
where  he  soon  assembled  a  small  com- 
pany of  German  players  about  him. 
In  1887  he  obtained  a  lease  of  the 
Irving  Place  Theatre,  which  speedily 
became  famous  for  the  excellence  of  its 
ensemble  at  a  time  when  the  English 
houses  were  dominated  by  the  star 
system.  It  was  due  the  merit  of 
the  performances  there  given  that  the 
Metropolitan  Opera  House  Realty  Co., 
owners  of  the  building,  installed  him 
as  manager  in  succession  to  Maurice 
Grau,  who  retired  because  of  ill  health. 
1905  he  received  a  decoration  from 
Franz  Leopold  carrying  the  right  to 
the  prefix  "von,"  and  received  the 
honorary  degree  of  M.A.  from  Har- 
vard, and  was  made  honorary  member 
of  the  board  for  Germanic  language 
and  literature  at  Harvard  and  Vassar. 
In  1907  Mr.  von  Conried  was  afflicted 
with  a  nervous  disorder  which  threat- 
ened  to   make  him   a   permanent  in- 


CONSECUTIVES  133  CONSEKVATOIRE 

valid,  and  on  the  advice  of  his  physi-  the    Conservatoire    organization,    im- 

cians  he  retired  from  the  management  proving  it,  as  he  had  many  other  edu- 

of  the  Opera  on  the  conclusion  of  the  cational  institutions;    and  in  1800  the 

season  1907-8,  giving  way  to  Messrs.  faculty    consisted    of:     Sarrette,    di- 

Andreas    DIPPEL    and    GATTI-OA-  rector ;  Gossec,  Mghul,  Lesueur,  Cheru- 

SAZZA.     Mr.  von  Conried  had  previ-  bini,  Monsigny,  inspectors  of  tuition; 

ously  retired  from  the  management  of  Louis   Adam',   Berton,   Blasius,   Catel, 

the  Irving  Place  Theatre,  and  in  the  Devienne,  Dugazon,  Ihivernoy,  Garat, 

fall  of  1908  was  endeavouring  to  re-  Gavinies,    Hugot,    Kreutzer,    Persuis, 

gain  his  health  in  Europe  and  was  at  Plantade,   Rode,   Rodolphe,    Sallentin, 

the  same  time  engaged  in  writing  his  and  in  all   31   first  class  professors; 

memoirs.     B.  Sept.   13,   1855,  Bielitz,  Adrien,   Baillot,    Boieldieu,    Domnich, 

Silesia;    add.  New  York  City.  Eler,  Jadin,  and  in  all  40  second  class 

Consecutives.     The  progression  of  professors.    Again  reorganized  in  1812 

parallel    fifths    or    octaves,    although  by  the  Decree  of  Moscow,  nine  pupils 

occasionally  exemplified  in  the  works  of   each   sex   in   preparation   for   the 

of  the  great  composers,  is  forbidden  Theatre  Frangais  were   allowed   1100 

by  theorists.    Consecutive  fifths  neces-  francs  each   for  maintenance.     When 

sarily    move    in    different    keys,    and  Louis  XVIII  came  to  the  throne  Sar- 

doubling  octaves,  unless  to  strengthen  rette  was  dismissed,  reinstated  during 

a  melody  temporarily,  would  be  throw-  six   months    of    1815    and    again   dis- 

ing  away  a  part  in  vocal  music  or  missed,    and    the    Conservatoire    was 

string    quartets,    which    could    ill    be  closed,  to  be  reopened  in  1816  as  the 

spared.  ificole  royale  de  Musique,  with  Perne" 

Consento.      /*.      Harmony;    notes  as    inspector   general.      Sarrette   had 

of  a  chord  sounded  together  as  opposed  been    £llowed    a    budget    of    240,000 

to  arpeggio.  francs,  which  was  reduced  to  100,000 

Consequent.      The    answer    to    a  in    1802,    but   he    gave   form    to    the 

fugue  subject.  courses    of    study    by    means    of    the 

Conservatoire   ITational   de   Mu-  "  M^thode    de    Conservatoire,"    estab- 

slque   et   de   Declamation,   referred  lished  the  prix  de  Rome,  1803,  founded, 

to  in  this  work  as  the  Paris  Conserva-  the  library,  and  inaugurated  theatrical 

toire  had  its  beginning  in  the  :6cDle  and  concert  performances  for  the  pu- 

Royale  de  Chant,  opened  in   1784  by  pils.     Perne  held  ofiice  until  April  1, 

Gossec  in  the  Hotel  des  Menus-Plaisirs  1822,   formed  special  classes   for  dec- 

du   Roi.     Plans   had   been    submitted  lamation    and    opera,    and    an    ficole 

for   the   formation   of   such   a   school  primaire  du  chant,  besides  aflfiliating 

by  a  horn  player,  Rodolphe,  in  1775.  subordinate     schools     at     Lille     and 

The  first  concert  took  place  in  1786.  Douai.     Cherubini  increased  the  num- 

A   school   for   declamation   was   then  ber  of  public  concerts,  established  an 

added,    and    the    institution    became  auxiliary  school  at  Toulouse,  opened 

the    ^cole    Royale    de    Chant    et    de  additional    instrumental    classes,    im- 

Declamation.      In    1792    Sarrette    or-  proved  the  discipline  and  in  all  ways 

ganized  the  ficole  gratuite  de  Musique  raised    the    institution's    standard    to 

de    la    Garde    Nationale    Parisienne,  a  higher  plane.     Among  the  faculty 

afterwards    known    as    the    Institut  during  his  long  administration  were: 

National   de   Musique.     On    Aug.    3,  Habeneck  and  Paer,  inspectors  of  tui- 

1795,  both  schools  were  incorporated  tion;    Lesueur,  Berton,  Reicha,  Fgtis, 

as  the  Conservatoire  de  Musique,  with  Halgvy,   Carafa,   composition;    Lain€, 

Sarrette    as    president.      Pour    years  Lays,     Garat,     Plantade,     Ponchard, 

later  the  Conservatoire  had  600  pupils  Banderali,    Bordogni,    Panseron,    and 

of  both  sexes,   125  professors,  and  a  Mme.  Damoreau,  vocal;    Benoist,  or- 

printing  office  for  the  publication  of  gan;  L.  Adam  and  Zimmerman,  piano ; 

"  fitudes  de  Conservatoire,"  edited  by  Baillot,  Habeneck,  and  Kreutzer,  vio- 

Catel,    Mghul,    Rode,    and    Kreutzer.  lin;     Baudiot,    Norblin,    and    Vaslin, 

Napoleon  made  important  changes  in  'cello;    Guilou,  Tulou,  flute;    Voght, 


CONSERVATOIRE 


133 


CONSERVATORI 


oboe;  Leffivre,  Klos6,  clarinet;  Del- 
cambre,  Gebauer,  bassoon;  Dauprat, 
Meifred,  horn;  Dauvernfi,  trumpet; 
Dieppo,  trombone;  Naderman,  Pru- 
mier,  harp;  Adolphe  Nourrit,  opera; 
Michelot,  Samson,  Provost,  Beauval- 
let,  dramatic  action.  Feb.  8,  1842, 
Cherubini  was  replaced  by  Auber,  who 
established  lectures  on  the  history  and 
literature  of  music,  greatly  enlarged 
the  buildings  and  equipment  and  aided 
in  the  reform  of  pitch.  Additions  to 
the  faculty  during  Auber's  adminis- 
tration included  Adolphe  Adam,  Am- 
broise  Thomas,  and  Reber,  composi- 
tion; Elwart,  Bazin,  harmony;  Bat- 
taille,  Duprez,  Faure,  Garcia,  Revial, 
Masset,  vocal;  Mme.  Farrenc,  H. 
Herz,  Marmontel,  Le  Couppey,  piano; 
Alard,  C.  Dancla,  Girard,  and  Mas- 
sart,  violin;  Franchortune  and  Chevil- 
lard,  'cello ;  Tulou,  Dorus,  flute ;  Ver- 
roust,  oboe;  Willent,  Cokken,  bassoon; 
Gallay,  Meifred,  horn;  Forestier,  Ar- 
ban,  cornet;  Keginier,  Monrose,  Bres- 
sant  and  Mile.  Brohan,  dramatic 
action.  During  the  latter  part  of 
Auber's  term  Lassabathie  was  ap- 
pointed administrateur,  but  on  the 
appointment  of  Ambroise  Thomas  to 
the  post  of  inspector  general  on  the 
death  of  Auber,  the  office  of  adminis- 
trateur and  the  allowance  of  main- 
tenance to  pupils  were  discontinued. 
Under  the  ITiomas  regime  lectures  on 
the  general  history  of  music,  a,  class 
in  orchestra  and  a  compulsory  sight 
singing  class  were  established,  and  the 
Conservatoire  received  an  increased 
allowance  from  the  state  which  en- 
abled it  to  pay  better  salaries.  Theo- 
dore Dubois  became  director  upon  the 
death  of  Thomas,  1896.  In  1908  the 
library  of  the  Conservatoire  numbered 
more  than  30,000,  and  the  museum, 
founded  in  1861  with  the  Clapisson 
collection  as  a  nucleus,  contained  more 
than  700  instruments.  The  affiliated 
schools  included  those  of  Marseilles; 
Lille,  Lyons,  Nancy,  Nantes,  Perpi- 
gnan,  Rennes,  Toulouse,  and  Iloubaix. 
The  management  and  faculty  was 
constituted  as  follows:  Director, 
GABRIEL  FAURE ;  composition  and 
fugue,  CHARLES  LENEPVEU,  C.  M. 
WIDOR,  Andre  Gedalge,  Georges  Caus- 


saude,  Lavignac,  E.  Pessard,  Taudou, 
Leroux,  Chapuis,  GEORGES  MARTY; 
history  of  music,  Bourgault,  Ducou- 
dray ;  solf ege,  Rougnon,  Emile  Schvartz, 
Cuignache,  Kaiser,  Vervaelde,  Au- 
zende,  Sujol,  PifiFaretti,  Mile.  Har- 
douin,  Mme.  Marcan,  Mme.  Renart, 
Mme.  Roy,  Mme.  Vinot,  Mme.  Sau- 
tereau,  Mme.  Massart,  Mme.  Vizen- 
tini;  singing,  Mme.  ROSE  CARON, 
Dubulle,  Ed.  Duvernoy,  J.  LASELLE, 
Manoury,  de  Martini,  Lorrain,  Engel, 
Hetlich,  Cazeneuve;  vocal  ensemble, 
Biisser;  lyric  declamation.  Max  Bon- 
vet,  Meldiissedec,  Isnardon,  Dupey- 
ron;  dramatic  declamation,  G.  Berr, 
Leloir,  Paul  Mounet,  Silvain,  Jules 
Truffier,  Mme.  Sarah  Bernhardt;  in- 
strumental ensemble,  Charles  Le- 
febvre,  Chevillard,  Capet;  piano  ac- 
companiment, P.  Vidal;  organ  and 
improvization,  GUILMANT ;  piano 
classes,  Diemar,  Risler,  Delaborde, 
Philipp,  Cortet;  preparatory  piano 
classes,  Falkenberg,  Mme.  Ch6n6,  Mme. 
Trouillebert,  Mme.  Long;  harp,  Has- 
selmans;  chromatic  harp,  Tassu- 
Spencer;  violin,  Berthelier,  A.  Lefort, 
G.  Remy,  Nadaud;  viola,  Lafarge; 
preparatory  violin  class,  Desjardins, 
A.  Brun;  'cello,  Loeb,  Cros  St.  Auge; 
doublebass,  Charpentier;  flute,  Taf- 
fanel;  oboe,  G.  Gillet;  clarinet.  Mi- 
mart;  bassoon,  Eugene  Bourdeau; 
horn,  Bremond;  cornet,  J.  Mellet; 
trumpet,  Franquin ;  trombone,  Al- 
lard.  ERNEST  REYER  continued  to 
be  inspector-general  of  the  auxiliary 
schools  of  the  Conservatoire  in  1908, 
and  the  librarian  was  M.  Weekerlin. 
There  was  an  enrollment  of  more 
than  700  free  pupils  of  either  sex  in 
1908.  ' 

Conservatori,  or  public  schools  for 
teaching  music,  were  early  established 
in  Italy  in  connection  with  hospitals 
and  benevolent  institutions,  and  some- 
times provided  free  board,  lodging,  and 
clothing  for  poor  students  of  either 
sex,  differing  in  these  respects  from  the 
ACCADEMIA,  which  usually  were  de- 
voted to  the  arts  and  sciences  in  gen- 
eral. Naples  was  the  seat  of  the  con- 
servatori Santa  Maria  di  Loreto,  San 
Onofrio,  De'  Poveri  di  Gesfl  Cristo,  and 
Delia  Pieta  de'  Turchino,  all  of  which 


COITSOLANTE 


134 


CONTREDAITSE 


had  their  beginning  in  a  music  school 
founded  in  1490  by  the  Fleming  Jean 
Tinetor.  In  Venice  were  the  conserva- 
tor! L'Ospedale  della  Pieta,  Dei  Mendi- 
canti,  Degl'  Incurabili,  and  L'Ospeda- 
letto  de'  SS.  Griovanni  e  Paolo ;  besides 
which  there  were  many  music  schools 
attached  to  churches  and  cathedrals, 
patterned  after  the  one  established  by 
Pope  Gregory  the  Great  in  Rome.  All 
these  schools  have  passed  away,  al- 
though there  are  highly  important 
Conaervatori  at  NAPLES  and  MILAN, 
under  royal  patronage. 

Consolante.     It.     Consolingly. 

Consonance.  Notes  in  accord  which 
produce  an  agreeable  effect  sounded 
together  as  opposed  to  dissonance,  or 
discordant  tones. 

Consort.  Set  of  viols  six  in  num- 
ber;   to  sound  in  accord. 

Construction.  FORM  in  which  a 
composition  is  expressed. 

Contes  d'HofCmann.  J.  Offenbach's 
operetta  to  book  by  Jules  Barbier  was 
first  performed  at  the  Paris  Op6ra 
Oomique,  and  speedily  became  popular 
in  all  parts  of  the  world.  Revived  at 
the  Manhattan  Opera  House,  New 
York,  Nov.  27,  1907,  the  name  part 
was  sung  by  Dalmores,  with  Mme. 
Zeppilli  as  Olympia;  Jomelli  as  Giu- 
lietta;  Trentini  as  Antonia;  De  Cis- 
neros,  as  Nicklausse,  etc.  The  poet 
Hoffmann  is  drinking  with  friends  at 
Luther's  tavern.  Finding  him  very 
sad,  they  declare  he  is  in  love,  but  the 
poet  tells  them  all  that  is  in  the  past. 
Then  he  undertakes  to  describe  his 
three  love  affairs,  which  are  enacted 
in  character  with  Olympia,  Giulietta, 
and  Antonia.  An  epilogue  reveals 
Hoffmann  alone  in  the  tavern,  which 
his  companions  have  deserted.  The 
Muse  appears  to  him  in  a  vision,  and 
tells  him  she  is  the  only  mistress  to 
follow,  and  the  only  one  who  will 
remain  true  to  him. 

Conti  (Erancesco  Bartolomeo) 
composed  "  Don  Chisciotte  in  Sierra 
Morena,"  and  in  all  16  operas,  13 
serenades,  nine  oratorios;  theorbist 
and  court  composer,  Vienna.  B.  Flor- 
ence, Jan.  20,  1681 ;  d.  Vienna,  July 
20,  1732.  Ignaz  composed  serenades 
and     bratorios.       B.     1699;     son     of 


FRANCESCO  BARTOLOMEO;  d. 
Mar.  28,  1759. 

Continued  Bass.  FIGURED  BASS 
or  basso  continuo. 

Continuo.     /*.     Continued  bass. 

Contra.  /*.  Indicates  an  octave 
lower. 

Contrabasso.    It.    DOUBLEBASS. 

Contrabass  Posaune.  /*.  TROM- 
BONE; 16  ft.  and  32  ft.  organ 
stop. 

Contrabass  Tuba.  It.  BOMBAR- 
DON. 

Contraddanza.  /*.  COUNTRY 
DANCE  or  CONTREDANSE. 

Contra  Fagotto.  It.  DOUBLE 
BASSOON. 

Contralto.  The  lowest  female  voice, 
generally  ranging  between  g  and  d", 
but  sometimes  extending  to  three 
octaves.  Rossini  and  his  followers 
were  the  first  to  compose  important 
music  for  this  voice.  The  name  is 
derived  from  the  fact  that  this  voice 
was  contra  or  below  the  highest  male 
voice  or  ALTO,     i 

Contra^untista.  It.  Writer  on 
or  composer  in  counterpoint. 

Contrappunto.  It.  COUNTER- 
POINT; Alia  SCente,  improvised  or 
Chant  sur  le  Livre. 

Contrappunto  Doppio.  It.  Double 
counterpoint. 

Contrapuntal.  Pertaining  to 
COUNTERPOINT. 

Contrapuntist.  Writer  on  or 
composer  in  counterpoint. 

Contr'arco.  Violation  of  approved 
bowing. 

Contrary  Motion.  Melodies  or 
harmonies  progressing  in  opposite  di- 
rections, some  ascending  while  others 
descend. 

Contrassoggetto.  It.  Counter 
subject. 

Contra  Tempo.  It.  Against  time ; 
syncopated. 

Contratenor.    It.    ALTO. 

Contraviolone.  /*.  DOUBLE 
BASS. 

Contrebasse.   Fr.   DOUBLE  BASS. 

Contredanse.  Fr.  Lively  dance 
consisted  of  eight  measure  phrases, 
each  repeated  and  in  2-4  or  6-8  time. 
which  became  popular  in  France  dur- 
ing the  Regency,  although  of  English 


CONTREP  ARTIE 


135 


COPYRIGHT 


origin,  the  name  being  a  corruption 
of  COUNTRY  DANCE.  A  group  of 
contredanses  make  a  QUADRILLE. 

Contrepartie.  Fr.  Part  in  con- 
trast. 

Contrepoint.  Fr.  COtJNTER- 
POINT. 

Contresujet.    Fr.    Counter  subject. 

Contre  Temps.    Fr.  Contra  tempo. 

Conversi  (Giralomo)  composed  the 
madrigal  "  When  all  alone  my  pretty 
love  was  playing,"  and  other  songs; 
B.  Correggio,  16th  century. 

Conversio.     L.  Inversion. 

Cooke  (Dr.  Benjamin)  composed 
an  Anglican  service  in  6  and  other 
church  music,  choruses,  songs,  and 
chamber  music;  played  organ  West- 
minster Abbey  and  conducted  London 
Academy  of  Ancient  Music.  B.  Lon- 
don, 1734;  son  of  a  music  publisher; 
d.  Sept.  14,  1793. 

Cooke  (Captain  Henry)  composed 
coronation  music  for  Charles  II,  under 
vrhose  reign  he  was  master  of  the  chil- 
dren of  the  Chapel  Royal  and  com- 
poser; fought  in  the  Royalist  army 
during  Civil  War,  obtaining  captain's 
commission.  B.  about  1600;  d.  July 
13,  1672. 

Cooke  (Nathaniel)  published  a 
collection  of  psalm  and  hymn  tunes, 
partly  original;  played  organ.  B 
1773,  Bosham,  Chichester,  Eng.;  d. 
about  1820. 

Cooke  (Robert)  composed  an  Angli- 
can evening  service  in  C,  prize  glees; 
played  organ  Westminster  Abbey.  B. 
1768,  London;  son  of  DR.  BENJA- 
MIN ;  drowned  himself  in  the  Thames, 
Aug.  13,  1814. 

Cooke  (Thomas  Simpson)  adapted 
many  operas  for  the  London  stage, 
composed  glees  and  dramatic  pieces; 
sang  ten.;  played  violin,  flute,  oboe, 
clarinet,  bassoon,  horn,  doublebass, 
'cello,  and  piano;  directed  music  at 
Drury  Lane  and  Covent  Garden,  Lon- 
don. B.  Dublin,  1782;  son  of  an  oboe 
player;  d.  Feb.  26,  1848.  Grattan  or 
Henry  Michael  Angelo  played  oboe; 
bandmaster  2d  Reg.  British  Life 
Guards.  B.  1809;  son  of  THOMAS 
SIMPSON;    d.  Sept.  12,  1889. 

Coombe  (William  Francis)  com- 
posed piano  music;    played  organ.    B. 


1786,  Plymouth,  Eng.;  son  of  a  sing- 
ing teacher;    d.  1850. 

Coombs  (James  Morris)  composed 
a  Te  Deiun  and  other  church  music; 
organist  at  Chippenham,  Eng.  B. 
Salisbury,  1769;    d.  Mar.  7,  1820. 

Cooper  (George)  wrote  an  "Intro- 
duction to  the  Organ,"  and  admirably 
interpreted  Bach  on  that  instrument; 
played  organ  Eng.  Chapel  Royal.  B. 
July  7,  1820;    d.  Oct.  2,  1876. 

Cooper  (Richard)  first  engraved 
music  in  Scotland,  for  Allan  Ramsay's 
collection  of  Scots  songs  set  by  Alex- 
ander Stuart,  1725.    D.  Jan.  20,  1764. 

Coperario  (John)  taught  music  to 
the  family  of  James  I,  of  England,  and 
composed  "The  Masque  of  Flowers," 
"  Songs  of  Mourning,"  and  other  occa- 
sional music;  played  viol  da  gamba; 
Italianized  his  English  name  Cooper 
while  living  in  Italy,  prior  to  1604; 
d.  1627. 

Coppola  (Pier  Antonio)  composed 
the  operas  "II  Figlio  bandito";  "Nina 
pazza  per  amore,"  Rome,  1835,  Paris, 
1839,  as  "Eva";  "  Ines  de  Castro," 
1842,  and  other  dramatic  and  church 
music,  and  conducted  at  Royal  Thea- 
tre, Lisbon.  B.  Castrogiovanni,  Sicily, 
Dec.  11,  1793;    d.  Nov.  13,  1877. 

Copula.  L.  Flowery  slui;red  des- 
cant in  mediaeval  music. 

Copyright  protects  the  author  or 
other  owner  of  a  musical  or  literary 
work  or  painting  or  engraving  in  "  the 
right  to  copy  "  or  reproduce  such  copy- 
righted work,  and  by  implication  pre- 
vents others  from  so  copying.  In  the 
United  States,  by  compliance  with 
certain  formalities,  this  right  may  be 
obtained  for  a  period  of  28  years,  re- 
newable for  a  further  period  of  14 
years.  In  Great  Britain  copyright 
endures  for  the  author's  life  and  for 
seven  years  after  his  death  or  for  a 
period  of  42  years  after  publication, 
which  ever  may  be  longest.  Perform- 
ing right  which  is  embraced  in  British 
copyright  is  not  recognized  in  Ameri- 
can law,  music  being  protected  only 
where  it  forms  an  integral  part  of  the 
play.  International 'copyright  as  pro- 
vided for  by  the  Berne  convention  of 
1886  has  decreased  piracy  in  Europe, 
and    reciprocal    copyright    privileges 


COQTrABD  136  COBFE 

have  now  been  established  between  Opera  Company,  1887;  "  River  Songs," 
most  of  the  powers.  A  copy  of  the  "  Roumanian  Dances "  for  violin  and 
existing  American  law  may  be  had  piano ;  overture  "  Prospero,"  the  can- 
free  on  application  to  the  Copyright  tata  "  Bridal  of  Triermain "  for  the 
Division,  Library  of  Congress,  Wash-  Wolverhampton  Festival,  1886;  "O 
ington,  D.  C,  and  information  regard-  sun,  that  waken'st  all,"  song  to  Ten- 
ing  British  copyright  may  be  obtained  nyson's  words ;  "  The  Sword  of  Ar- 
by  addressing  the  Registry  at  Sta-  gantyr,"  cantata  for  Leeds  Festival, 
tioners'  Hall,  London,  Eng.  1889;  taught  composition  Royal  Col- 
Coqiiard  (Arthur)  composed  the  lege  of  Music,  London;  conducted 
operas  " L'fipge  du  Roi,"  1884;  "Le  Aquarium  Concerts,  Brighton;  wrote 
Marid'un  jour,"  1886;  "La  Jacquerie,"  criticisms  and  made  translations.  B. 
1895;  "La  Troupe  Jolicoeur,"  1902;  Jan.  26,  1852,  London;  add.  London, 
many  dramatic  scenes  for  voice  and  Cor  de  Vaches.  Fr.  Cow  horn, 
orchestra ;  wrote  "  De  la  Musique  en  Cordier  (Jacques)  played  violin 
France  depuis  Rameau,"  criticisms  for  and  rebec  and  taught  dancing  to  Hen- 
"  Le  Monde  " ;  lectured  at  the  National  rietta  Maria,  Queen  of  Charles  I,  of 
Institute  for  the  Blind.  B.  May  26,  England;  called  Bocan.  B.  about 
1846,  Paris;    add.  Paris.  1580,  Lorraine. 

Cor.  Fr.  Horn.  Corelli  (Arcangelo)  founded  the 
Corale.  /*.  Chorale,  hymn,  or  technique  of  violin  playing;  composed 
psalm  tune.  chamber  sonatas  and  concerti  grossi 
Cor  Anglais.  Fr.  Tenor  oboe  set  which  have  influenced  later  orchestral 
in  F  and  a  fifth  lower  than  the  oboe  development;  ranked  as  the  first  great 
proper,  ranging  in  compass  from  b  to  violin  virtuoso;  pupil  of  Matteo  Si- 
fa"  fiat.  Although  the  name  means  monelli  in  counterpoint,  and  of  G.  B. 
English  horn,  and  it  is  "  Corno  Ing-  Bassani  on  the  violin;  among  the 
lese "  in  Italian,  and  "  Englisches  most  admired  and  least  spoiled  mu- 
Horn "  in  German,  the  instrument  is  sicians  in  history.  In  early  life  he 
doubtless  of  German  origin,  being  a  visited  Germany,  probably  Bavaria 
development  of  the  tenor  POM-  and  Hanover,  possibly  staying  in  Paris 
MER.  Modern  composers  employ  it  for  a  time  on  his  homeward  journey, 
frequently.  About  1685  he  was  settled  in  Rome 
Coranto.  COURANTE.  and  had  published  12  sonatas,  acquir- 
Corbett(!Francisque)  played  guitar  ing  a  high  reputation  both  as  com- 
at  courts  of  Louis  XIV  and  Charles  II ;  poser  and  violinist.  Cardinal  Pietro 
real  name  Corbetti  or  Corbetta ;  taught  Ottoboni  became  his  friend  and,  ex- 
De  Vabray,  De  Visfi,  and  Mgdard.  B.  cept  for  occasional  visits  to  other 
about  1620,  Pavia;  d.  1681,  Paris.  cities,  there  Corelli  lived  for  the  re- 
Corbett  (William.)  composed  inci-  mainder  of  his  life,  leaving  the  Car- 
dental  music  to  Shakespeare's  plays,  dinal  about  $300,000  in  money  and  a 
concertos,  and  sonatas;  played  violin  collection  of  paintings.  (The  money 
at  the  London  Opera;  collected  Italian  was  distributed  to  Corelli's  surviving 
music  and  violins  during  sojourn  in  relatives  it  should  be  added. )  B.  Feb. 
Italy;  returned  to  England  1740,  12,  1653,  Fusignano,  Imola;  d.  Jan. 
playing  in  Royal  orchestra.     D.  Mar.  10,  1713. 

7,  1747.  Corfe  (Joseph)  composed  a  volume 
Corda,    sopra    una.      /*.      Directs  of  church  music,  glees ;   wrote  on  Sing- 
that  a  passage  is  to  be  played  on  one  ing  and  Thorough-Bass ;  sang  in  Salis- 
string.  bury     Cathedral     and     Eng.     Chapel 
Corde  a  Jour.     Fr.    Open  string.  Royal;   master  of  choristers  Salisbury 
Cor  de  Chasse.    Fr.    Hunting  horn.  Cathedral.      B.    Salisbury,    1740 ;     d. 
Corde  Pausse.    Fr.    False  string.  July  29,  1820.    Arthur  Thomas  com- 
Corder    (Frederick)    composed  posed  a  service  and  other  church  mu- 
"  Nordisa,"  which  was  produced  with  sic,    wrote   "  The   Principles    of   Har- 
brilliant   success   by    the    Carl    Rosa  mony  and  Thorough-Bass " ;   succeeded 


COBIFEO 


137 


COBO 


his  father  as  master  of  the  children 
and  organist  at  Salisbury  Cathedral. 
B.  Salisbury,  April  9,  1773;  son  of 
JOSEPH;  d.  Jan.  28,  1863.  Dr. 
Charles  William  played  organ  at 
Christ  Church,  Oxford.  B.  July  13, 
1814,  one  of  13  children  of  ARTHUR 
THOMAS;  d.  Dec.  16,  1883,  Oxford. 
Job.li  Davis  played  organ  Bristol 
Cathedral.  B.  1804;  brother  of  DR. 
CHARLES  WILLIAM;    d.  1876. 

Corifeo.     /*.    CORYPHAEUS. 

Corkine  (William)  published  books 
of  "  Ayres  to  sing  and  play  "  with  lute 
and  Tiol  accompaniments,  London, 
1610  and  1612. 

Cormuse.     Fr.    BAGPIPE. 

Cornamusa.     It.    BAGPIPE. 

Cornelius  (Peter)  composed  the 
BARBER  OF  BAGDAD,  the  unfa- 
vourable reception  of  which  led  to 
Liszt's  retirement  from  Weimar; 
aided  Liszt  in  the  establishment  of 
the  New  German  school,  and  upheld 
the  Wagnerian  art  theories  by  articles 
in  the  "Neue  Zeitschrift  fUr  Musik" 
and  translations  of  Liszt's  French 
lectures;  joined  Wagner  in  Munich 
and  taught  harmony  and  rhetoric  in 
the  "  Konigliehe  Musik-schule "  of 
which  von  Biilow  was  director,  com- 
posed the  opera  "Gunl6d"  in  Wag- 
nerian style  and  many  songs.  B.  Dec. 
24,  1824,  Mayence;    d.  Oct.  26,  1874. 

Cornelys  (Theresa)  managed  con- 
certs at  Carlisle  House,  London,  di- 
rected by  Bach  and  Abel,  1764-73, 
which  were  the  most  notable  of  that 
period;  first  favourite  of  Senator 
Malipiero  of  Venice,  then  of  the  Mar- 
grave of  Baireuth;  became  directress 
of  theatres  in  the  Austrian  Nether- 
lands, went  to  England  to  sing  opera 
as  "  Mme.  Pompeati  " ;  finally  became 
impoverished,  her  career  terminating 
in  Fleet  Street  prison.  B.  1723,  Ven- 
ice; daughter  of  the  actor  Imer;  d. 
Aug.  19,  1797. 

Cornet.  Brass  valve  instrument  of 
the  trumpet  family  with  compass 
ranging  from  c'  to  g"',  having  com- 
plete chromatic  scale,  with  good  vocal 
quality  when  well  played,  but  lacking 
the  power  and  brilliancy  of  the  trum- 
pet, for  which  it  is  often  substituted. 
The  fundamental  tone  is  an  octave  be- 


low the  compass  indicated,  but  is 
rarely  used.  Cornets  are  usually  in 
B  fiat  with  an  A  crook,  but  a  smaller 
instrument  in  E  fiat  is  used  in  mili- 
tary and  brass  bands. 

Comet.  Obsolete  woodwind  instru- 
ment of  the  oboe  type,  but  covered 
with  leather,  known  as  ZINKE  and 
in  Italy  as  cornetto. 

Cornet,  Echo.  Swell  organ  stop  of 
small  scale  which  originally  consisted 
of  the  same  ranks  of  pipes  as  the 
MOUNTED  CORNET;  now  applied 
to  any  small  scale  sesquialtera  or 
mixture. 

Cornet,  mounted.  Solo  great  or- 
gan stop  fast  becoming  obsolete  which 
had  several  ranks  of  pipes  so  that  the 
open,  principal,  12th,  15th,  and  tierce 
tones  were  sounded  together.  Usually 
the  compass  was  upward  from  c'. 
"  Cornet  voluntaries "  consisted  of 
embellished  passages  on  this  stop  to 
a  soft  bass  on  the  choir  organ. 

Cornette  (Victor)  composed  and 
wrote  methods  for  orchestral  instru- 
ments, director  and  chorusmaster  at 
various  Paris  theatres;  deputy  or- 
ganist at  St.  Sulpioe  and  the  Invalides, 
Paris.    B.  1795,  Amiens;    d.  Paris. 

Cornetto.    /*.    CORNET. 

Corno.    It.    HORN. 

Corno  Alto.  /*.  Horn  of  high 
pitch. 

Corno  Basso.   It.  Deep  toned  horn. 

Corno  di  Basseto.  It.  BASSET 
HORN ;  organ  stop  of  clarinet  quality. 

Corno  di  Caccia.  It.  Hunting  or 
FRENCH   HORN. 

Corno  Flute.  8  ft.  organ  stop  of 
soft  tone. 

Corno  Inglese.  It.  COR  AN- 
GLAIS. 

Comopeon.  Obsolete  name  of 
valved  cornets. 

Comu.    L.    Roman  horns. 

Cornyshe  or  Cornish  (William) 
sang  in  Chapel  Royal  during  reign  of 
Henry  VII;  master  of  the  children; 
accompanied  Henry  VIII  to  Field  of 
the  Cloth  of  Gold.  D.  1524.  Wil- 
liam, Jr.,  composed  part  songs  and 
sacred  music.    Son  of  WILLIAM. 

Cor  Omnitonique.  Fr.  Horn 
capable  of  producing  chromatic  scale. 

Coro.    It.    CHORUS. 


COBONA 


138 


COSI  FAN  TTITTE 


Corona.     It.    Fermata  or  pause. 

Coronach  or  Coranach.  Fimeral 
song  chanted  by  the  seannachie  or 
bard  on  the  death  of  a  chief  or  other 
great  man  in  the  Gaelic  parts  of  Scot- 
land. In  modern  times  the  coronach 
has  given  way  to  the  cumhadh  which, 
instead  of  being  chanted,  is  played  on 
the  bagpipe. 

Corps  de  Voix.  Fr.  Quality  or 
fulness  of  the  voice. 

Corrente.     It.    COURANTE. 

Correpetiteur.  Fr.  Chorus  in- 
structor. 

Corri  (Somenico)  composed  "  Ales- 
sandro  nell'  Indie,"  London  1774; 
"  The  Travellers,"  Jan.  22,  1806,  songs; 
wrote  "The  Art  of  Fingering"  and 
a  "Musical  Dictionary,"  1798;  con- 
ducted, taught,  and  published  music  in 
Edinburgh,  the  business  being  carried 
on  by  his  son  JOHN  as  Corri  &  Co.; 
settled  in  London  in  partnership  with 
Dussek,  who  married  his  daughter. 
B.  Oct.  4,  1746,  Rome;  d.  London, 
May  22,  1825.  Natale  managed  the 
Scotch  end  of  the  publishing  house  of 
Corri  &  Co.  B.  1765;  brother  of 
DOMENICO;  d.  1822.  John  carried 
on  his  father's  business  in  Edinburgh, 
failing  in  business  ISOl.  Son  of 
DOMENICO.  Philip  Anthony  helped 
found  the  London  Philharmonic  but 
later  settled  in  America.  Brother  of 
JOHN.  Haydn,  a  third  brother, 
taught  music  in  Dublin  and  became 
organist  at  the  Pro-Cathedral.  B. 
1785;  d.  Feb.  12,  1860.  The  London 
house  of  Corri,  Dussek  &  Co.  failed 
in  1801,  and  Dussek  fled. to  escape  his 
creditors.  Domenico  continued  in  busi- 
ness alone  until  succeeded  by  his  son 
Montague,  who  was  b.  Edinburgh, 
1784;  d.  London,  1849.  After  sev- 
eral changes  in  name  Montague  re- 
tired, and  the  only  member  of  the 
family  remaining  in  business  was 
Natale,  who  established  himself  in 
London,  but  d.  1822,  leaving  no 
successor. 

Corri-Faltoni  (Mme.  Frances) 
sang  mez.  sop.  in  opera.  B.  Edin- 
burgh, 1801;  daughter  of  Natale 
Corri. 

Corsi  (Jacopo)  played  harpsichord 
at  the  performances  of  "  Dafne  "  and 


"  Euridice,"  Peri's  operas,  which  were 
given  at  his  home  in  Florence,  1597, 
and  are  considered  the  earliest  Italian 
operas.  B.  about  1560  of  noble  fam- 
ily;   d.  about  1604. 

Corteccia  (Francesco  di  Bernado) 
composed  madrigals,  church  music; 
chapelmaster  to  Cosimo  I,  and  or- 
ganist and  canon  of  S.  Lorenzo,  Flor- 
ence. B.  Arezzo;  d.  Florence,  June  7, 
1571. 

Cortellini  (Camillo)  composed 
church  music  and  madrigals;  played 
violin  so  well  as  to  be  called  "  II  Vio- 
lino  " ;  in  service  of  municipality  of 
Bologna,  1583. 

Coryphaeus.  L.  Chorus  or  dance 
leader;  titular  ofiScer  of  music  at 
Oxford  University  on  Dr.  Heather's 
foundation. 

Coryphee.  Fr.  Ballet  dancer  who 
leads  a  group. 

Cosi  Fan  Tutte.  W.  A.  Mozart's 
two-act  opera  buffa  to  book  by  Da 
Ponte  was  first  performed  in  Vienna, 
Jan.  26,  1790.  The  music  has  been 
greatly  admired,  and  as  the  libretto 
was  not,  many  attempts  have  been 
made  to  provide  new  books,  and  in 
several  languages.  Rosaura  and  Isa- 
bella, two  Andalusian  ladies,  are  be- 
trothed to  Don  Fernando  and  Don 
Alvar.  The  lovers  sing  their  praises 
to  the  disgust  of  Don  Onofrio,  an  old 
bachelor,  who  declares  that  they  are 
no  better  than  other  women,  and  pro- 
poses a  test  of  their  constancy,  to 
which  the  young  men  agree.  They 
pretend  to  have  gone  to  Havana  with 
their  regiments,  but  return  in  dis- 
guise to  make  love  to  each  other's 
fianc€e.  Dolores,  maid  to  the  ladies, 
has  been  made  a  party  to  the  scheme. 
To  their  delight,  both  young  men  are 
rejected,  but  Onofrio  then  suggests  a 
further  temptation.  By  his  direction 
the  young  men  pretend  to  take  poison 
in  their  despair  at  not  overcoming  the 
scruples  of  the  young  ladies.  Rosaura 
and  Isabella,  much  moved  by  this  evi- 
dence of  passion,  call  Dolores  to  go  for 
a  physician,  and  by  her  advice  take 
the  young  men  in  their  arms,  pending 
his  arrival.  Dolores  comes  back  dis- 
guised as  a  physician,  and  pretends  to 
administer    antidotes.      To    calm    the 


COSSSCAITN' 


139 


COTILLON 


anxiety  of  her  young  ladies,  Dolores 
now  tells  them  of  the  plot,  which  they 
resolve  to  turn  to  the  disadvantage  of 
their  lovers.  They  consent  to  mar- 
riage, and  Dolores,  this  time  dis- 
guised as  a  notary,  performs  the  cere- 
mony. The  bridegrooms  depart,  only  to 
return  and  upbraid  the  young  women 
for  their  heartless  conduct,  but  after 
teasing  them  sufficiently,  the  ladies 
confess  the  trick,  Don  Fernando  and 
Don  Alvar  humbly  beg  forgiveness, 
and  Don  Onofrio  confesses  he  was 
wrong. 

Cossmann  (Bernhard)  played 
'cello  in  solo  and  quartet  with  dis- 
tinction; taught  in  Frankfort  Hoch 
Conservatorium.  B.  May  17,  1822, 
Dessau;    add.  Frankfort. 

Costa  (Andrea)  wrote  "  Analytical 
Considerations  on  the  Art  of  Singing," 
London,  1838 ;  taught  Mme.  Borgondio 
and  Mme.  Albertazzi.  B.  Brescia, 
settled  in  London,  1825. 

Costa  (Sir  DUIicIiael  Andrew  Ag- 
nus) composed  the  oratorios  "  Eli," 
Birmingham  Festival,  1855;  "Naa- 
man,"  Birmingham  Festival,  1864; 
the  ballets  "  Sir  Huon  "  for  Taglioni, 
1833,  "Alma"  for  Cerito,  1842;  the 
operas  "Don  Carlos,"  London,  1844; 
and  "Malek  Adhel";  conducted  admir- 
ably the  London  Philharmonic  orches- 
tra. Sacred  Harmonic  Society,  Italian 
opera  at  Covent  Garden ;  the  Birming- 
ham, Bradford,  Leeds,  and  Handel 
Festivals;  became  in  1871  "director of 
the  music,  composer  and  conductor " 
of  Her  Majesty's  Opera;  received  dec- 
orations from  many  countries,  and 
knighthood  (1869)  from  Queen  Vic- 
toria. Son  of  the  Cavaliere  Pasquale 
Costa,  of  an  ancient  Spanish  family, 
and  himself  a  gifted  amateur;  young 
Costa  gained  a  free  scholarship  in  the 
Royal  College  of  Music,  Naples;  at 
15  composed  a  cantata,  "L'Immagine," 
which  was  performed  in  the  college 
theatre;  and  at  18  the  opera  "II 
Delitto  punito."  A  grand  mass  for 
four  voices,  an  oratorio,  three  sym- 
phonies, and  other  operas  also  date 
from  this  period.  In  1829  he  composed 
"Malvina"  for  the  San  Carlo  opera 
house,  then  directed  by  Barbaja,  and 
the  following  year  he  was  sent  to  Bir- 


mingham by  his  master,  Zingarelli,  to 
conduct  a  cantata,  but,  through  error, 
was  compelled  to  sing  the  tenor  part 
instead.  Maestro  al  piano  at  the 
King's  Theatre  in  1829,  he  composed 
the  grand  ballet  "  Kenilworth,"  and 
in  1832  became  conductor  at  the 
Italian  opera.  "  Malek  Adhel,"  per- 
formed at  the  Italian  opera,  Paris, 
1837,  was  presented  with  greater  suc- 
cess in  London,  but  Costa's  arduous 
duties  as  conductor  doubtless  com- 
pelled him  to  give  less  time  to  composi- 
tion than  he  would  have  preferred. 
B.  Feb.  4,  1808,  Naples;  d.  April  29, 
1884,  London. 

Costantini  (Eabio)  composed 
church  music  and  songs ;  chapelmaster 
at  Orvieto  Cathedral.  B.  Rome  about 
1570.  Alessandro  composed;  played 
organ  at  St.  Peter's,  Rome,  in  succes- 
sion to  Frescobaldi,  1643;  brother  of 
FABIO. 

Costanzi  (Juan)  composed  the  opera 
"  Carlo  Magno,"  Rome,  1729 ;  the  ora- 
torio "  S.  Pietro  Alessandrino  " ;  16 
part  motets  for  four  choirs ;  a  "  Mis- 
erere " ;  chapelmaster  at  St.  Peter's, 
Rome,  1754;  called  "Gioannino  di 
Roma."  B,  Rome;  d.  Rome,  Mar.  5, 
1778. 

Coste  (Oaspard)  composed  "Trente- 
cinq  livres  des  chansons  S.  quatre 
parties,"  Paris,  1539-49;  "Ghirlanda 
di  Fioretti  Musicale,"  Rome,  1589; 
chorister,  1530,  Avignon  Cathedral. 

Costeley  (William)  composed 
"  Chansons  a  4  et  5  parties,"  Paris, 
1567,  a  founder  and  first  president  of 
a  St.  Cecilia  society  which  gave  con- 
tests, Orlandi  di  Lasso  winning  first 
prize  in  1575;  played  organ  at  courts 
of  Henri  II  and  Charles  IX,  of  France. 
B.  Scotland,  1531;  d.  Evreux,  Feb.  1, 
1606. 

Cosyn  (Benjamin)  collected  vir- 
ginal music;  played  organ  Dulwich 
College  and  Charterhouse,  1622-44. 

Cotillon.  Fr.  "Under  petticoat." 
Name  given  in  the  reign  of  Louis  XIV 
to  a  variation  of  COUNTRY  DANCE 
originally  for  one  man  and  woman, 
then  for  four  couples  and  now  for  any 
number  of  dancers,  with  a  constant 
variety  of  figures,  which  are  danced  to 
waltz,    polka,    mazourka,    and    galop 


COTTA 


140 


COtTNTERPOIlTT 


tunes;  led  by  one,  two,  or  more 
couples,  depending  upon  the  number 
of  dancers. 

Cotta  (Johannes)  composed  the 
popular  quartet  setting  for  four  male 
voices  of  Arndt's  patriotic  song  "  Was 
ist  des  Deutschen  Vaterland."  B. 
Ruhia,  Thuringia,  May  24,  1794;  d. 
Mar.  18,  1868,  Willerstedt. 

Cottage  Piano.  Small  upright 
piano. 

Cotton  or  Cottonius  (John)  wrote 
a  treatise  on  music,  12th  century, 
valuable  for  its  portrayal  of  musical 
systems  of  that  period. 

Cotumacci  or  Contumacci  (Carlo) 
composed  a,  Requiem,  "  Partimenti  " 
and  for  harpsichord;  played  organ  at 
S.  Onofrio,  Naples ;  pupil  of  Scarlatti. 
B.  1698,  Naples;    d.  1775. 

Coiiac.  Fr.  "  Quack."  Goosenote 
or  disagreeable  noise  to  which  instru- 
ments of  the  clarinet  and  oboe  type 
are  subject  if  not  correctly  blown. 

Couched  Harp.  Obsolete  name  for 
SPINET. 

C011I&  Fr.  Glide;  slurred  notes; 
harpsichord  ornament. 

Counterpoint  is  the  art  of  combin- 
ing with  a  melody  one  or  more  melo- 
dious parts,  as  contrasted  with  har- 
mony, which  accompanies  a  melody 
with  chords.  It  is  so  called  because 
the  notes  or  points  are  written  counter 
to  each  other  or  "  nota  contra  notam." 
The  chief  melody  or  theme  or  subject 
or  CANTUS  FIRMUS,  the  latter  of 
the  nearly  synonymous  terms  being 
best,  may  pass  from  one  part  to  an- 
other without  losing  its  predominant 
character,  from  which  it  may  readily 
be  seen  that  the  composer's  aim  is  to 
give  a,  singing  quality  to  each  part. 
The  art  may  have  originated  from  the 
difficulty  presented  in  chanting  church 
music  in  unison  by  singers  with  voices 
of  varying  range.  The  canti  firmi  to 
which  the  Latin  liturgy  was  so  chanted 
in  the  earlier  stages  of  Christianity 
were  found  to  have  a  more  agreeable 
effect  when  the  low  voices,  instead  of 
taking  the  melody  an  octave  below, 
used  intervals  of  a  fifth  or  third,  im- 
provising a  part  which  was  neither 
harmonic  nor  contrapuntal,  strictly 
speaking,  but  partook  the  nature  of 


harmony  and  counterpoint,  giving  rise 
to  both.  The  development  of  counter- 
point was  marked  by  the  growth  of 
strict  rules  forming  a  kind  of  gram- 
mar, but  with  many  exceptions,  since 
music  continued  to  be  a  living  and 
growing  language.  Music  constructed 
according  to  these  rules  was  called 
"polyphonic"  (many  voiced)  as  dis- 
tinguished from  "homophonic"  or  one 
voiced.  It  has  become  the  fashion  to 
sneer  at  the  laws  laid  down  by  the 
older  contrapuntists  as  we  do  at  the 
pedanticism  of  the  Meistersingers,  yet 
they  were,  for  the  most  part,  based 
on  simple  common  sense.  Counter- 
point is  either  simple  or  double,  and 
of  simple  counterpoint  there  are  five 
varieties:  1.  Note  against  note.  2. 
Two  notes  against  one  in  the  cantus 
firmus.  3.  Four  notes  to  one  in  the 
cantus  firmus.  4.  When  the  added 
part  is  in  syncopation.  5.  When  there 
is  free  or  florid  accompaniment  to 
each  note  of  the  cantus  firmus.  Some 
of  the  rules  governing  the  first  vari- 
ety: "No  discords -are  allowed."  It 
may  be  observed  that  toleration  of  dis- 
cord unless  instantly  followed  by  reso- 
lution is  purely  a.  matter  of  educa- 
tion, which  such  masters  as  Palestrina 
were  born  too  early  to  have  enjoyed. 
"  More  than  three  consecutive  thirds  or 
sixths  are  forbidden."  Otherwise  har- 
mony would  result  instead  of  two  in- 
dividual melodies.  "  Consecutive  fifths 
and  octaves  are  forbidden."  Consecu- 
tive fifths  are  not  merely  ugly  but 
would  throw  the  two  parts  into  dif- 
ferent keys,  and  consecutive  octaves 
would  merge  two  parts  into  one. 
"  The  fourth  is  to  be  considered  a  dis- 
cord." It  is,  when  combined  with  a 
third  or  fifth.  To  object  to  the  rules 
of  counterpoint  would  seem  no  more 
rational  than  to  object  to  regular  con- 
jugation of  verbs  because  there  are 
irregular  verbs.  From  the  examples 
already  shown  it  may  be  inferred  that 
there  are  reasons  for  forbidding  all 
dissonances  other  than  passing  notes, 
chromatics,  and  chords  of  more  than 
three  tones.  Besides  simple  counter- 
point, there  is  double  counterpoint  in 
which  the  parts  must  be  interchange- 
able   or    invertible;     usually    at    the 


COtTNTEK 


141 


COrPERIW 


bctave,  tenth,  or  twelfth.  Rarer  forma 
are  triple  or  quadruple  counterpoint, 
where  there  are  three  or  four  inter- 
changeable parts;  and  still  rarer, 
quintuple  counterpoint,  with  five  in- 
terchangeable parts.  With  Palestrina 
and  his  followers  counterpoint  reached 
its  highest  development  in  ecclesias- 
tical music,  and  since  further  progress 
seemed  impossible,  musicians  turned 
their  attention  to  harmony,  the  evolu- 
tion of  which  had  been  checked  by  the 
over  stimulation  of  the  sister  growth. 
Up  to  the  close  of  the  16th  century 
the  rules  of  counterpoint  were  the  sole 
guidance  of  composers,  but  in  1605 
MONTEVERDE,  destined  to  become 
the  most  popular  composer  of  his  day, 
published  a  volume  of  madrigals  at 
variance  with  the  polyphonic  method, 
and  suggesting  the  harmonic  style  of 
treatment.  It  remained  to  a  few  mu- 
sicians such  as  Porpora  to  carry  on 
the  traditions  of  the  contrapuntists, 
whose  principles  had  been  elucidated 
in  FUX'S  "  Gradus  ad  Parnassum " 
(Vienna,  1725),  and  through  Haydn, 
pupil  of  Porpora,  and  Albreehtsberger, 
they  were  thoroughly  grounded  in 
Beeth'oven,  however  little  he  may  have 
regarded  them.  A  second  culminating 
point  in  the  history  of  contrapuntal 
music  was  reached  in  the  works  of 
Johann  Sebastian  Bach,  who  applied 
to  instrumental  music  a  complete 
knowledge  of  counterpoint  as  well  as 
of  harmony,  and  whose  fugues  are  a 
most  perfect  illustration  of  the  prin- 
ciples of  counterpoint.  Cherubini  and 
Brahms  were  perhaps  the  most  skill- 
ful contrapuntists  of  modern  times, 
but  counterpoint  and  harmony  go 
hand  in  hand  in  the  works_  of  the 
latest  composers,  and  in  what  is, called 
free  counterpoint  is  an  intimate  blend 
of  both.  See  works  of  Fux  (Eng. 
trans.);  E.  F.  Richter,  Macfarren; 
"Counterpoint  Strict  and  Free,"  Prout, 
London;  and  "  Cours  de  Countre- 
point  et  de  la  Fugue,"  Cherubini, 
Eng.  trans.,  Novello  &  Co.,  London. 

Counter  Subject.  Answer  or  sec- 
ond theme  in  a  fugue. 

Counter  Tenor  Clef.  C  clef  on 
third  line  of  stave  for  the  viola  and 
alto  or  counter  tenor. 


Counter  Tenor  Voice.    ALTO. 

Country  Dance.  Dance  once  popu- 
lar in  rural  England,  whence  it  spread 
to  France  and  Italy  as  CONTRE- 
DANSE  and  CONTRADDANZA,  con- 
sisted of  four  or  eight  measure  phrases 
which  might  be  in  either  triple  or 
duple  time.  It  still  survives  as  the 
"  Sir  Roger  de  Coverly"  or  "  Virginia 
Reel." 

Coupart  (Antolne  Marie)  founded 
and  edited  the  "  Almanach  des  Spec- 
tacles," Paris,  1822-36;  edited  collec- 
tions of  songs.  B.  1780,  Paris;  d. 
1854. 

Coup  d'Arcliet.     Fr.     Bow  stroke. 

Couperin  (Charles)  founded  a 
family  of  distinguished  French  musi- 
cians; m.  Marie  Andry,  of  Chaume, 
in  La  Brie.  Louis  played  organ  at 
St.  Gervais,  Paris;  composed  three 
harpsichord  suites;  played  violin  in 
royal  band.  B.  1630;  eldest  son  of 
CHARLES;  d.  1665.  rranQois played 
organ  at  St.  Gervais;  pupil  of  Cham- 
bonniferes.  B.  1631;  second  son  of 
CHARLES;  d.  1698.  Charles  played 
organ  at  St.  Gervais;  m.  Marie 
Guerin,  1662;  father  of  Francois 
"Le  Grand";  b.  1638;  third  son  of 
CHARLES;  d.  1669.  Frangois,  called 
"LB  GRAND"  is  the  subject  of  a 
separate  article.  His  daughter.  Mar- 
guerite Antoinette,  assisted  him  dur- 
ing the  last  three  years  of  his  life,  and 
became  organist  to  the  king  on  his 
decease.  B.  Sept.  19,  1705.  Nicholas 
played  organ  at  St.  Gervais.  B.  1680; 
son  of  the  earlier  FRANCOIS;  d. 
1748.  Armand  Louis  played  organ 
at  St.  Gervais  and  Notre  Dame;  com- 
posed for  harpsichord  and  violin.  B. 
1725;  son  of  NICHOLAS;  d.  1789. 
Pierre  Louis  acted  as  the  deputy  of 
his  father  ARMAND  LOUIS,  d.  1789, 
and  was  succeeded  at  St.  Gervais  by 
his  brother  Frangois. 

Couperin  (Frangois)  composed 
harpsichord  suites  and  wrote  a  "  M.6- 
thode"  which  influenced  the  style  of 
Johann  Sebastian  Bach  both  as  per- 
former and  composer;  played  organ 
at  St.  Gervais,  like  many  others  of  his 
family;  organist  to  the  king  and  to 
his  private  chapel  at  Versailles,  and 
sufEciently    great   as    a   musician    to 


COtrPEB 


143 


COWEN 


deserve  his  title  of  "  Le  Grand  Cou- 
perin."  Brahms  edited  his  suites  for 
harpsichord  which  have  been  reprinted 
by  Augener  &  Co.  B.  Nov.  10,  1668, 
Paris;    d.  1733. 

Couper  le  Sujet.  Fr.  To  shorten 
a  subject  or  theme. 

Coupler.  Organ  mechanism  con- 
necting the  pedals  with  manuals  or 
different  manuals. 

Couplet.  Two  notes  occupying  the 
time  of  three ;    stanza ;   two  line  verse. 

Courante.  Pr.  "Running."  French 
dance  in  fast  3-2  time,  usually  with 
many  dotted  notes,  and  in  two  parts, 
which  are  repeated,  the  last  measure  of 
each  being  in  6-4  time.  The  Italian 
form  called  'corrente  is  in  3-8  or  3— t 
time,  played  fast  and  usually  con- 
taining many  running  passages.  A 
third  variety  of  courante  attempted  to 
combine  features  of  the  two  already 
described. 

Couronne.  Fr.  The  pause  char- 
acter. 

Courtant.  Obsolete  variety  of 
bassoon. 

Courteville  (Raphael)  sang  in 
Eng.  Chapel  Royal.  D.  London,  Dec. 
28,  1675.  Balph.  composed  sonatas  for 
two  flutes,  hymns,  songs  and  dramatic 
music;  sang  in  Eng.  Chapel  Royal 
and  played  organ  at  St.  James,  West- 
minster. Son  of  RAPHAEL;  d.  about 
1735.  Raphael  wrote  political  pam- 
phlets; played  organ.  Probably  son 
of  the  second  RAPHAEL  above  men- 
tioned.    D.  1772. 

Courtols  (Jean)  composed  church 
music  and  songs;  chapelmaster  to 
Archbishop  of  Chambray;  16th  cen- 
tury. 

Coussemaker,  de  (Charles  Ed- 
mond  Henri)  edited  works  of  Adam 
de  la  Hale,  Paris,  1872 ;  wrote  "  Me- 
moire  sur  HucbaJd  "  and  many  impor- 
tant works  on  mediaeval  music  and  in- 
struments; Chevalier  of  the  Legion  of 
Honor  and  of  the  Order  of  Leopold, 
member  of  the  Institute;  judicial 
officer  by  profession  but  an  amateur 
of  great  skill.  B.  April  19,  1805, 
Bailleul,  Nord;  d.  Jan.  7,  1876. 

Cousser  or  KUsser  (Johann  Sigis- 
mund)  composed  the  operas  "Erindo," 
1693;   "Pyramus  and  Thisbe,"  1694; 


"Scipio  Africanus,"  1694;  "Jason," 
1697,  overtures  and  songs;  chapel- 
master at  Stuttgart,  1700-4;  Master 
of  Music  at  Anglican  Cathedral,  Dub- 
lin, 1710.  B.  Presburg,  about  1657; 
d.  Dublin,  1727. 

Coveut  Garden  Theatre  has  been 
the  principal  home  of  opera  in  Eng- 
land for  many  years.  The  original 
building  was  opened  under  Rich's 
management,  Dec.  7,  1732,  but  the 
present  structure  only  dates  from 
1858,  five  others  having  been  destroyed 
by  fires.  Fifty  musical  productions 
were  made  during  the  administration 
of  Sir  Henry  Bishop,  1810-24,  and  von 
Weber's  "  Oberon,"  written  for  the 
house,  was  produced  there  1826.  Occa- 
sional musical  productions  followed, 
but  in  1846  it  was  remodelled  for  opera 
exclusively.  For  a  time  Costa  directed 
and  Mario  and  Grisi  were  members  of 
the  company,  as  well  as  Alboni,  Tam- 
bourini,  Persiani,  and  Roneoni.  In 
1861  Patti  made  her  first  European 
appearance  there.  Tamberlik,  Lucca, 
Graziani,  and  Albani  came  next,  and 
for  a  time  there  were  performances  of 
English  opera,  notably  those  of  Balfe. 
Then  came  a  period  of  depression,  with 
a  revival  of  interest  which  continued 
throughout  the  administration  of  Sir 
Augustus  Harris,  dating  from  1888  to 
his  death  in  1896,  since  which  time 
the  opera  has  been  managed  by  the 
Opera  Syndicate  as  lessees  of  the 
house. 

Covered  Consecutives.  Hidden 
consecutives. 

Covered  Strings  for  the  piano, 
viols,  or  guitar,  are  made  by  spinning 
fine  wire  over  silk  wire  or  gut  strings, 
the  effect  being  to  make  the  string  so 
covered  vibrate  more  slowly. 

Coward  (Dr.  Henry)  trained  the 
SheflSeld  Festival  and  other  choruses; 
composed  cantatas,  anthems,  and  songs. 
B.  Nov.  26,  1849,  Liverpool;  add. 
Sheffield,  Eng. 

Coward  (James)  composed  church 
music  and  glees;  played  organs  in 
London  churches  and  to  Grand  Lodge 
of  Freemasons  and  the  Sacred  Har- 
monic Society.  B.  Jan.  25,  1824,  Lon- 
don;   d.  Jan.  22,  1880. 

Cowen    (Frederic    Hymen)    com- 


COWNTERYMTGE 


143 


CRANZ 


posed  a  waltz  at  six,  an  operetta  at  12, 
and  in  after  life  became  one  of  the 
most  distinguished  of  English  com- 
posers and  conductors.  Pupil  of  Gross 
and  Benedict,  his  first  public  appear- 
ance was  at  a  piano  recital  in  London, 
1863.  Two  years  later  he  won  the 
Mendelssohn  scholarship,  but  relin- 
quished it,  and  his  parents  themselves 
took  liim  to  Leipsic,  where  he  became 
a  pupil  of  Plaidy,  Moscheles,  Eein- 
ecke,  Eichter,  and  Hauptmann  at  the 
Conservatory.  After  occasional  eon- 
cert  performances  he  studied  conduct- 
ing with  Kiel  at  the  Berlin  Stern  Con- 
servatory, and  in  1869  produced  his 
C  minor  symphony  and  a  piano  con- 
certo in  A  at  St.  James's  Hall,  London. 
Costa,  whose  assistant  he  had  become, 
got  him  the  commission  for  "  The  Cor- 
sair," which  was  given  at  the  Bir- 
mingham Festival  of  1876,  and  the 
same  year  the  Carl  Rosa  company  pro- 
duced his  opera  "  Pauline."  His  rec- 
ognition as  one  of  the  foremost  of 
English  composers  followed  the  per- 
formance of  his  "  Scandinavian  Sym- 
phony," London,  1880.  Thereafter  he 
conducted  the  Philharmonic  concerts, 
at  the  Melbourne  Centennial,  receiv- 
ing $25,000  for  a  six  months'  engage- 
ment, and  on  returning  to  England 
conducted  the  Hall6  orchestra  at  Man- 
chester, the  Liverpool  Philharmonic 
concerts,  the  Bradford  Festival,  the 
Scottish  orchestra  and  the  Cardiff 
Festival,  1902,  and  the  Handel  Festi- 
val, 1903.  Other  compositions  to  be 
noted  are :  four  symphonies,  concert , 
overtures  and  suites,  chamber  music, 
the  operas  "  Signa,"  Milan,  1893 ; 
"Harold,"  Covent  Garden,  1895,  sev- 
eral operettas,  the  oratorios  "  The 
Deluge,"  "St.  Ursula,"  "Ruth,"  "Song 
of  Thanksgiving,"  "The  Transfigura- 
tion," 1895;  the  cantatas  "Rose 
Maiden,"  1870,  "Corsair,"  "Sleeping 
Beauty,"  "St.  John's  Eve,"  "The 
Water  Lily,"  "All  hail  the  glorious 
reign,"  Jubilee  ode,  1897;  "Ode  to  the 
Passions,"  "Coronation  Ode,"  1902, 
songs,  anthems,  etc.  B.  Jan.  29,  1852, 
Kingston,  Jamaica;    add.  London. 

Cownterynge  yn  Songe.  Old  Eng. 
for  descant  or  singing  a  tune's  accom- 
paniment. 


Cox  and  Box.  Sir  Arthur  Sulli- 
van's music  to  the  farce  by  F.  C. 
Burnand  was  first  performed  in  pub- 
lic May  11,  1867,  at  the  Adelphi  Thea- 
tre, London. 

Cracovienne.  Polacoa  or  KRAK- 
OVIAK. 

Cramer  (Jacob)  played  violin  and 
founded  a  well  known  family  of  musi- 
cians. B.  1705,  Sachau,  Silesia;  d. 
1770,  Mannheim.  Johann.  played 
drum  in  Mannheim  court  band.  B. 
1743 ;  son  of  JACOB.  Wilhelm  com- 
posed and  played  violin,  ranking  with 
the  best  performers  of  his  day;  Immi- 
grated to  London,  headed  the  king's 
band  and  led  at  the  Opera,  the  Pan- 
theon, the  Ancient  Concerts,  and  the 
Professional  Concerts,  and  at  the 
Handel  Festivals.  B.  Mannheim  about 
1744;  son  of  JACOB;  d.  London,  Oct. 
5,  1799.  Franz  became  master  of  the 
king's  music,  1834.  B.  1772;  son  of 
WILHELM;  d.  Aug.  1,  1848.  Johann 
Baptist  composed  82  studies,  which 
formed  the  fifth  part  of  his  "Grosse 
praktische  Pianoforte- Schule,"  and 
which  have  been  more  serviceable  to 
pianists  than  any  work  other  than 
dementi's  "  Gradus  ad  Pamassum  " ; 
and  100  studies  published  as  "  Schule 
der  Gelaiifigkeit,"  and  105  sonatas; 
ranked  with  the  greatest  teachers  and 
performers  of  his  age;  established  the 
firm  of  CRAMER  &  CO.;  pupil  of 
Benser,  Schroeter,  and  MUZIO  CLE- 
MENTI.  B.  Feb.  24,  1771,  Mann- 
heim; son  of  WILHELM;  d.  April 
16,  1858,  London.  Carl  taught  music 
and  played  piano  in  London.  B.  1780, 
London ;  younger  brother  of  JOHANN 
BAPTIST. 

Cramer  &  Co.  publish  music  in 
London.  The  house  was  founded  in 
1824  by  JOHANN  BAPTIST  CRAMER 
with  Robert  Addison  and  T.  Frederick 
Beale.  In  1861,  Beale,  the  sole  surviv- 
ing partner,  took  in  George  Wood  as 
a  member  of  the  firm.  On  Mr.  Wood's 
death  in  1893  his  two  nephews  suc- 
ceeded to  the  business,  which  was 
transferred  to  a  stock  company  in 
1902. 

Crang  &  Hancock  built  organs  in 
England,  18th  century. 

Cranz  (A.  H.)  founded  music  pub- 


CBEATION 


144 


CBICKET 


lishing  house  in  Hamburg,  1813.  B. 
1789;  d.  1870,  when  his  son  Alwin 
succeeded  to  the  business.    B.  1834. 

Creation.  Joseph  Haydn's  first 
oratorio  was  composed  between  1796 
and  1798,  and  was  first  performed  in 
private,  April  2,  1798  at  the  Schwartz- 
enberg  Palace,  Vienna.  The  book  was 
originally  prepared  for  Handel  by 
Lidley  or  Liddell  from  text  in  Genesis 
and  in  "Paradise  Ix)st,"  and  was 
translated  and  adapted  by  Baron  van 
Swieten  as  "  Die  Schopfung."  Salo- 
mon is  said  to  have  suggested  the  sub- 
ject to  the  composer.  The  first  publi- 
cation, with  German  and  English 
words,  took  place  in  Vienna,  1800,  and 
the  work  has  been  sung  in  all  parts 
of  the  world. 

Credo.  The  first  word  of  the  Nicene 
Creed  in  the  Latin  ritual ;  an  integral 
part  of  the  MASS,  upon  which  the 
world's  greatest  composers  have  lav- 
ished their  best  music. 

Creed.  In  the  early  Anglican 
Church  the  Nicene  Creed  was  chanted 
in  the  ancient  manner,  and  Marbeck's 
setting  strictly  follows  the  Boman 
original.  That  of  Tallis  is  likewise 
of  Gregorian  origin.  The  Apostles' 
Creed  is  either  said  or  intoned.  The 
Athanasian  Creed,  which  is  the  "  QUI- 
CUNQUE  VULT  "  of  the  Latin  ritual, 
where  it  is  chanted  as  a  Psalm,  is 
usually  chanted  in  the  Anglican 
Church  to  what  is  known  as  "  The 
Canterbury  Tune,"  and  is  a  corrup- 
tion of  the  Eighth  Gregorian. 

Crembalum.     Jew's  Harp. 

Cremona.  Viols  made  by  the  cele- 
brated makers  who  lived  in  Cremona, 
Lombardy,  such  as  the  AMATIS, 
STRADIVARII,  GUARNERII,  BER- 
GONZI,  GUADAGNINI,  MONTA- 
GNANA,  RUGGIERI,  STORIONE, 
and  TESTORE.  The  name  as  applied 
to  an  8  ft.  reed  organ  stop  is  a  corrup- 
tion of  Krummhorn. 

Cremorne.     Fr.     KRUMMHORN. 

Crepitaoulum  or  Crepundia.  L. 
Obsolete  frictional  castanets. 

Crequillon  or  Crecquillon 
(Thomas)  composed  church  music 
and  songs;  Netherlander  attached  to 
court  of  Emperor  Charles  V  at  Madrid, 
16th  century. 


Crescendo.  It.  Directs  that  the 
volume  of  tone  be  increased  or  made 
louder. 

Crescendo  Pedal.  The  organ's 
swell  pedal. 

Crescendo  Zug.  Q-er.  Swell  box 
of  an  organ. 

Crescentini  (Girolamo)  was  the 
last  of  great  sopranists,  and  sang  the 
air  "Ombra  adorata,"  which  he  had 
composed  and  interpolated  in  Zinga- 
relli's  "  Romeo  e  Giulietta "  with  so 
much  feeling  as  to  move  Napoleon 
and  his  court  to  tears.  After  his 
debut  in  Rome,  1783,  Crescentini  sang 
in  opera  in  London,  Vienna,  Lisbon, 
and  throughout  Italy.  In  1805  he  be- 
came singing  master  to  the  Imperial 
family  at  Vienna,  where  Napoleon 
heard  him,  engaged  him  at  a  handsome 
salary,  took  him  back  to  Paris,  and 
decorated  him  with  the  Iron  Cross. 
The  climate  injured  his  throat,  and  in 
1812  he  obtained  a  reluctant  permis- 
sion to  return  to  Italy.  After  a  four 
years'  sojourn  in  Rome  he  taught'  at 
the  Royal  College  of  Music  in  Naples, 
wrote  a  treatise  on  singing,  which  was 
published  in  French  and  Italian,  and 
composed.  B.  Eeb.  2,  1766,  Urbania, 
near  Urbino;  d.  Naples,  April  24, 
1846. 

Creser  (Dr.  William)  composed 
"Eudora,"  cantata,  Leeds,  1882;  "The 
Sacrifice  of  Freia,"  Leeds  Festival, 
1889;  "The  Golden  Legend,"  "Nax- 
ine,"  and  operetta;  "Old  English 
Suite"  for  orchestra,  chamber  music; 
played  organ  and  conducted ;  organist 
and  composer,  Eng.  Chapel  Royal, 
1891-1902.  B.  Sept.  9,  1844,  York; 
m.  Amelia  Clarke,  mez.  sop.;  add. 
London. 

Creticus.  L.  Metrical  foot  con- 
sisting of  one  short  between  two  long 
syllables. 

Creyghton  (Rev.  Robert,  D.D.) 
composed  services  in  E  flat,  B  flat,  and 
C,  and  the  anthem  "I  Will  Arise"; 
taught  Greek  at  Cambridge;  precentor 
at  Wells  Cathedral.  B.  1639 ;  d.  Feb. 
17,  1733. 

Cricket  on  th.e  Hearth.  Carl 
Goldmark's  opera  to  book  by  M.  Will- 
ner,  founded  on  Dickens's  tale,  was 
produced   at   Berlin,   June   27,    1896, 


CBISFIITO 


145 


CROOKS 


as  "  Das  Heimchen  am  Herd,"  but  the 
English  version  of  1900  carries  the 
title  as  above.  The  story  need  not  be 
repeated,  since  it  is  doubtless  familiar 
to  every  reader,  and  is  followed  with 
reasonable  fidelity  by  the  librettist. 
The  scene  is  laid,  of  course,  in  an  Eng- 
lish village.  The  best  musical  numbers 
are  Dot's  dancing  song  in  the  second 
act,  the  quintet  with  which  it  con- 
eludes,  and  the  prelude  to  the  third 
act,  in  which  Goldmark  introduces  the 
song  "  Weisst  I>u,  wie  viel  Sternlein 
stehen."  The  work  is  characterized 
by  great  beauty  of  melody  and  a  total 
absence  of  sensationalism. 

Crispino.  Luigi  Ricci's  three-act 
opera  buff  a  to  text  by  Piave  was  first 
performed  1850,  Venice.  Crispino  the 
cobbler  is  unhappy  because  of  his  pov- 
erty, although  blessed  with  a  beautiful 
wife,  Annetta,  who  adds  to  the  family 
purse  by  singing  baUads,  and  is  ad- 
mired by  a  wealthy  count.  Resolved 
to  throw  himself  into  a  well,  Crispino 
meets  a  fairy  who  persuades  him  to 
turn  physician,  declaring  he  will  al- 
ways be  successful  in  his  operations 
unless  she  is  present.  Great  pros- 
perity follows,  which  turns  Crispino's 
head,  and  he  forgets  old  friends  and 
becomes  cruel  to  Annetta.  One  day 
when  he  is  about  to  strike  his  wife 
the  fairy  appears  and  takes  him  to 
a  cave  where  many  lamps  are  burning, 
each  representing  a  human  life.  Find- 
ing the  oil  low  in  his  own  lamp,  he 
suggests  that  some  be  poured  in  from 
Annetta's,  whereupon  the  fairy  reveals 
herself  as  Death,  and  tells  him  to  make 
a  last  request  before  dying.  Crispino 
asks  for  another  opportunity  to  see 
his  wife  and  children,  and  the  scene 
shifts  again  to  his  little  home.  For- 
tunately he  has  only  had  the  night- 
mare, but  he  is  filled  with  joy  on 
awakening,  and  is  content  with  his 
lot.  Federico  Ricci  collaborated  with 
his  brother  in  this  work. 

Cristofori  (Bartolommeo  di  Fran- 
cesco) invented  the  piano,  which  he 
called  "  gravicembalo  col  piano  e 
forte."  A  perfect  specimen  of  his 
work  was  presented  to  the  Metropoli- 
tan Museum,  New  York,  by  Mrs.  J. 
Crosby  Brown.    It  is  a  bichord  instru- 

10 


ment  with  a  compass  of  four  octaves, 
with  hammer  action  complete,  and 
bears  the  inscription :  "  Bartholomaeus 
de  Christoforis  Patavinus  Inventor 
faciebat  Florentise  MDCCCXX."  Born 
in  Padua,  Cristofori  became  in  early 
manhood  the  best  harpsichord  maker 
in  that  city,  and  as  such  was  called 
to  Florence  by  Prince  Ferdinand,  son 
of  Cosmo  III.  The  precise  date  of  his 
invention  of  the  piano  is  not  known, 
but  the  instrument  is  described  in 
vol.  V  of  MaflFei's  "  Giornale  dei  Let- 
terati  d'ltalia,"  and  he  must  have 
seen  it  during  his  visit  to  Florence 
in  1809.  A  later  specimen  of  the  Cris- 
tofori grand  piano  owned  by  the  Kraus 
family  is  shown  at  the  Museum  in 
Florence,  and  a  beautiful  specimen  of 
his  harpsichords,  one  having  three 
manuals,  was  presented  by  Frederick 
Stearns  of  Detroit  to  the  University 
of  Michigan.  It  is  dated  1702.  B. 
about  1665;    d.  Jan.  27,  1731. 

Crivelli  (Gaetano)  composed  songs, 
taught,  sang  ten.  in  opera.  B.  1774, 
Bergamo;  d.  Brescia,  July  10,  1836. 
Domenico  wrote  "  The  Art  of  Sing- 
ing," taught  in  KTaples  and  London, 
composed  the  opera  buffa  "  La  Fiera 
di  Salerno."  B.  June  7,  1793,  Brescia; 
son  of  GAETANO;  d.  Feb.  11,  1857, 
London. 

Croce  (Giovanni)  composed  church 
music,  songs,  and  motets,  some  of 
which  were  republished  in  England; 
pupil  of  Zarlino;  priest  and  chapel- 
master  at  St.  Mark's,  Venice.  B. 
about  1557,  Chioggia;  d.  May  15,  1609. 

Groclie.    Fr.    Quaver. 

Crociato  in  Egitto.  Giacomo 
Meyerbeer's  two-act  opera  to  book  by 
Rossi  was  produced  in  1824  at  La 
Fenice,  Venice. 

Croft  (Br.  William)  composed  a 
chant  in  B  minor,  occasional  anthems 
and  other  music  for  the  Anglican  ser- 
vice; played  at  Westminster  Abbey 
and  was  master  of  the  children,  Eng. 
Chapel  Royal,  of  whom  he  had  been 
one  in  boyhood.  B.  1678,  Warwick- 
shire, Eng.;    d.  Aug.  14,  1727,  Bath. 

Croma.    /*.    Quaver. 

Cromatico.    /*.    Chromatic. 

Cromatiscli.     Ger.     CHROMATIC. 

Crooks.    Tubes  inserted  between  the 


CSOSDILL 


146 


CTJI 


body  of  brass  instruments  and  the 
mouth-piece,  thus  extending  or  lower- 
ing the  pitch  and  altering  the  scale. 

Crosdill  (John)  played  'cello  ad- 
mirably; chamber  musician  to  Queen 
Charlotte,  1782,  and  teacher  of  George 
IV;  m.  woman  of  wealth  and  retired. 
B.  about  1751,  London;    d.  1825. 

Cross  (Thomas)  engraved  music  in 
London,  1683-1732. 

Crosse  (John)  wrote  a  sketch  of 
English  music  festivals  in  connection 
with  his  "Account  of  the  Grand  Mu- 
sical Festival  held  in  1823  in  the 
Cathedral  Church  of  York."  B.  July 
7,  1786,  Hull;   d.  Oct.  20,  1833,  York. 

Crossley  (Ada)  sang  con.  in  Eng- 
lish concerts  and  festivals,  London 
debut,  May  18,  1895,  Queen's  Hall. 
B.  Farraville,  Gippsland,  Australia, 
Mar.  3,   1874.     Add.  London. 

Crotalum.  L.  Rattle  formed  of  a 
slab  of  wood  to  which  another  is 
hinged.  Anciently  used  in  the  wor- 
ship of  Cybele  to  mark  the  dance 
rhythm ;  a  variety  has  survived  in  the 
"  slap-stick  "  of  the  low  comedian. 

Crotch  (Dr.  William)  composed 
the  oratorios  "  Captivity  of  Judah," 
"  Palestine,"  ten  anthems,  ode  on  the 
accession  of  George  IV;  edited  and 
lectured  on  music;  wrote  on  theory; 
played  on  an  organ  built  by  his  father 
at  two,  and  at  London  concerts  at 
four;  organist  and  professor  at  Ox- 
ford, 1797.  B.  July  5,  1775,  Norwich; 
d.  Dec.  29,  1847. 

Crotchet.     Quarter  note. 

Crouch  (Mrs.  Anna  Maria)  sang 
sop.  in  opera  and  concert,  debut  in 
Ame's  "  Artaserse  "  1780,  Drury  Lane, 
London;  retired  1801.  B.  April  20, 
1763,  London ;  daughter  of  P.  Philips ; 
m.  Lieut.  Crouch,  K.  N.;  d.  Oct.  2, 
1805,  Brighton. 

Crouch  (Frederick  Nicholls)  com- 
posed "  Kathleen  Mavourneen  "  and 
the  operas  "Sir  Roger  de  Coverly " 
and  "  The  Fifth  of  November  ";  played 
'cello  at  Astor  Place  Opera  House, 
New  York,  1849;  taught  and  con- 
ducted in  Boston,  Portland,  Me.,  Phil- 
adelphia (1856),  Washington,  Rich- 
mond, Baltimore;  'cello  pupil  of  his 
father,  grandfather,  and  of  Royal 
Academy  of  Music.    B.  July  31,  1808, 


London;  d.  Aug.  18,  1896,  Port- 
land, Me. 

Crowd.     CRWTH. 

Criiger  (Johann)  composed  "  Jesu 
meine  Freude,"  "  Nun  danket  alle 
Gott,"  "  Jesu  meine  Zuversicht,"  and 
other  famous  chorales;  cantor  at 
Nicolaiikirche,  Berlin,  1622-62.  B. 
April  9,  1598,  Gross-Breesen,  Prussia; 
d.  Feb.  23,  1662,  Berlin. 

Cruvelli  (Jeanne  Sophie  Char- 
lotte) sang  con.  in  opera;  debut, 
Venice,  1847;  retired  1856;  m.  Comte 
Vignier,  real  name  Criiwell.  B.  Mar. 
12,  1826,  Westphalia.  Friederike 
Harie  sang  con.  in  opera;  died  of 
grief  on  losing  her  voice.  B.  Aug.  29, 
1824;  sister  of  J.  S.  C;  d.  July  26, 
1868. 

Crwth  or  Crowd.  Obsolete  lyre 
shaped  instrument  with  six  strings, 
four  played  with  the  bow  and  two 
plucked.  Bow  instruments  probably 
originated  in  India,  but  the  crwth, 
which  was  highly  popular  in  Wales, 
appears  to  have  been  the  first  of  the 
viol  family  in  Europe. 

Csardas.  Hungarian  dance  in  2-4 
or  4-4  time,  generally  opening  with  a 
slow  movement  called  Lassu,  followed 
by  the  Fris  or  Friska,  which  is  the 
dance  proper.  The  Csardas  is  oriental 
in  character,  like  most  Magyar  music. 

C  Schliissel.     Qer.    C  clef. 

Cudmore  (Bichard)  composed  the 
oratorio  "  Martyr  of  Antioch "  and 
violin  and  piano  concertos;  led  Gen- 
tlemen's Concerts  in  Manchester.  B. 
1787,  Chichester,  Eng.;  d.  Manches- 
ter, Dec.  29,  1840. 

Cue.  Catch  words  or  notes  em- 
ployed to  indicate  the  entrance  of  a 
voice  or  instrument. 

Cui  (Cesar  Antonovioh)  composed 
operas,  songs,  chamber  music,  and 
for  orchestra,  ranking  with  the  best 
of  modern  Russian  musicians,  al- 
though by  profession  a  military  en- 
gineer, recognized  authority  on  forti- 
fications, and  a  Lieutenant  General  of 
the  army.  Pupil  of  Moniuszko  in 
boyhood,  Cui's  early  enthusiasm  for 
music  was  revived  by  Balakirev,  1857, 
and  in  the  following  year  he  married 
Mile.  Bamberg  (pupil  of  Dargomij- 
sky),  in  whose  honor  his   first  pub- 


CVLhEN                      147  CUZZONI 

lished  composition,  a  scherzo  for  two  every  opening  flower,''  and  in  alt  83 
pianos,  was  written.  "  The  Manda-  songs  for  solo  voice  and  nine  part 
rin's  Son,"  operetta,  was  composed  the  songs  and  the  opera  "  Abdul  und  Erin- 
following  year,  as  well  as  the  opera  nieh."  B.  June  21,  1804,  Berlin;  d. 
"  The  Captive  in  the  Caucasus,"  other  Langfuhr,  near  Dantzig,  Aug.  24,  1841. 
operas  being  "  William  Rattcliflf,"  Curtal.  Obsolete  instrument  of  the 
"  Angelo,"      "  Le      Filibustier,"      "  A  bassoon  family. 

Feast  in  Time  of  Plague,"  1900,  Curwen  (John)  founded  the  TONIC 
"Mam'zelle  Fifi,"  and  "The  Saracen,"  SOL-FA  system  and  college  (1879), 
which  proved  the  most  successful  of  and  devoted  his  life  to  writing  text 
all.  His  compositions  for  orchestra  books  and  propaganda;  in  early  life 
include  four  suites,  two  scherzos,  a  a  Nonconformist  minister.  B.  Heck- 
tarantella,  and  a  marche  solonnelle.  mondwike,  Yorkshire,  Eng.,  Nov.  14, 
Cui's  contributions  to  French  and  1816;  d.  May  26,  1880,  Manchester. 
Belgian  publications  were  first  to  Jolin  Spencer  wrote  "  Memorials  of 
awaJcen  an  outside  interest  in  the  John  Curwen,"  his  father,  and  con- 
"  New  Bussian  "  school,  and  he  also  tiuued  his  work  on  behalf  of  the  Tonic 
wrote  criticism  for  the  leading  Rus-  Sol-fa  as  principal  of  the  college,  and 
sian  newspapers.  B.  Jan.  18,  1835,  as  editor.  B.  Sept.  13,  1847;  add. 
Vilna;    add.  St.  Petersburg.  Manchester. 

Cullen  (John)  published  music  in  Curzon,    de    (Emmanuel    Henri 

London,  1705-10.  Parent)  wrote  historical  and  critical 

Cumberlands.        London     change-  works    on    music;    music    critic    the 

ringing  society,  originally  called  the  "  Gazette  de  France,"  1889.    B.  Havre, 

Society  of   London   Scholars,   but  re-  July  6,  1861 ;    add.  Paris, 

named  Cumberland  Youths  or  Royal  Cusanini  (Giovanni).    Professional 

Cumberlands  in  honor  of  the  Duke  of  name  of  the  sopranist  CARESTINI. 

Cumberland.  Cushion  Dance.    Old  English  kiss- 

Cummings    (William    Hayman)  ing  dance  in  3-4  time.     The  dancer 

composed    the    cantata    "  The    Fairy  placed  a  cushion  before  another  of  the 

Ring,"    a.  Morning    Service    and    an  opposite  sex,  upon  which  both  dancers 

Anthem  and  many  songs ;   founded  the  knelt  and  kissed. 

Purcell    Society    and   wrote    a    biog-  Cusins  (Sir  William  George)  com- 

raphy  of  that  composer,  a  biographi-  posed    "  Royal    Wedding    Serenata," 

cal   dictionary   of    musicians,    and    a  1863;     the    overtures    "  Les    Travail- 

"  Primer  of  the  Rudiments  of  Music  " ;  leurs  de  la  Mer,"  and  "  Love's  Labor 

sang  ten.   at  American   and   English  Lost";    piano  concerto  in  A  minor; 

festivals;     taught     vocal     in     Royal  the   oratorio   "Gideon";     conducted; 

Academy  of  Music,   London;     played  taught  Royal  Academy  of  Music,  Lon- 

organ  Waltham  Abbey.     B.  Aug.  X,  don;    master  of  music  to  the  Queen, 

1831,  Devonshire,  Eng.;   add.  London.  1870;     knighted,    1892.      B.    Oct.    14, 

Cum    Sancto.      L.      Part    of    the  1833,  London;    d.  Aug.  31,  1893. 

Gloria  in  the  MASS.  Gustos.     L.    A  direct. 

Cupo.     It.     Darkly,  mysteriously.  Cutell  (Richard)  wrote  on  counter- 

Curioni  sang  sop.  King's  Theatre,  point,  England,  15th  century. 

London,    1754.     Alberico    sang   ten..  Cutler  (William  Henry)  composed 

London  debut,  1821  to  1834.    B.  about  a  service,  anthems,  and  songs;    sang 

1790;     probably   son   of   the   soprano  and  played  organ.     B.  1792,  London; 

CURIONI.  retired  July  5,  1824. 

Curioso     Indiscrete.       Anfossi's  Cuzzoni    (Francesca)    sang    mez. 

opera  was  produced  1778,  Milan,  and  sop.;    debut  at  Venice  with  Faustina, 

1783,  Vienna,  with  two   interpolated  1719;   became  that  singer's  great  rival 

songs  composed  by  Mozart.  in    London,    and    retired    to  .Vienna, 

Currende.      Ger.      Juvenile    carol  1728,   because   Faustina   was  allowed 

singers.  one    guinea    per    annum   beyond   her 

Curschmann  (Karl)  composed  "  In  salary;    spent   some   time  in  Dutch 


CYCLE 


148 


debtors'  prison,  and  supported  her- 
self in  old  age  by  malang  buttons. 
B.  Parma  or  Modena  about  1700;  m. 
Sandoni,  a  harpsichordist,  London, 
1722;    d.   1770,  Bologna. 

Cycle.  Set  of  songs  with  related 
subjects. 

Clyclisclie  Formen.  Oer.  Rondo 
form. 

Cymbals.  Percussion  instrument 
consisting  of  two  circular  bronze  plates 
with  straps,  through  the  centres  by 
which  they  may  be  held  in  either  hand 
and  clashed,  or  rather  rubbed  together. 
In  small  orchestras  one  plate  is  com- 
monly fastened  to  the  bass  drum  to 
permit  the  drummer  to  play  it  with 
one  hand  while  wielding  the  drum- 
stick with  the  other.  The  instrument 
is  of  oriental  origin  and  was  in  use 
in  Assyria  and  Egypt.  Two  varieties 
are  referred  to  in  the  Bible.  Small 
cymbals  tuned  a  fifth  apart  were  em- 
ployed by  Berlioz. 

Cypher  System.  Variety  of  NO- 
TATION. 

Czaar  und  Zlmmermann.  Albert 
Lortzing's  most  popular  opera  was 
composed  to  his  own  libretto  based 
upon  an  old  comedy,  and  first  per- 
formed at  Leipsic,  Dec.  22,  1837. 
Peter  the  Great,  while  learning  the 
ship  builders'  craft  at  Saardam,  is 
eagerly  sought  by  the  ambassadors 
of  England  and  France,  but  has  con- 
cealed his  identity  under  the  name 
Peter  Michaelow.  A  Russian  rene- 
gade, Peter  Ivanow,  is  employed  in 
the  same  shipyard,  and  the  comedy 
scenes  are  based  upon  mistaken  iden- 
tity. Both  Peters  have  been  making 
love  to  Mary,  niece  of  the  Burgo- 
master Van  Vett,  but  in  the  end  the 
Czar  sails  away  leaving  Us  rival  a 
pardon  and  a  sum  of  money  and  the 
prospect  of  a  bride.  Although  the 
opera  was  performed  in  nearly  all 
music  centres,  Lortzing  is  said  to 
have  received  only  between  30  and 
50  thalers  for  it,  of  which  he  paid  25 
to  have  it  copied.  Donizetti,  T.  S. 
Cooke,  and  L.  A.  JuUien  composed 
operas  on  the  same  episode  of  the 
great  Czar's  life. 

Czakan.  Obsolete  Bohemian  flute 
or  flageolet,  usually  in  A. 


Czardasch.    CSARDAS. 

Czemohorsky  (Bohuslav)  played 
organ  in  churches,  Minorite  monk; 
taught  Gliick  and  Tartini.  B.  Niem- 
burg,  Bohemia,  1690;   d.  1740. 

Czemy  (Karl)  was  the  favourite 
pupil  of  Beethoven  and  teacher  of 
Liszt;  composed  a  "Complete  Theo- 
retical and  Practical  Pianoforte 
School,"  and  in  all  nearly  1000  pub- 
lications, some  of  which  contain  more 
than  50  compositions;  pupil  also  of 
Hummel  and  Clementi;  rarely  played 
in  public,  owing  to  timidity;  wrote 
"Umriss  der  ganzen  Musikgeschichte," 
"  School  of  Practical  Composition," 
and  an  autobiography;  left  posthu- 
mous works  to  the  Gesellschaft  der 
Musikfreunde,  Vienna,  including  24 
masses,  300  graduales,  offertories, 
symphonies,  chamber  music,  and  vocal 
and  dramatic  pieces,  and  four  re- 
quiems. B.  Feb.  20,  1791,  Vienna; 
son  of  Wenzel,  a  gifted  musician,  who 
was  his  first  teacher;  d.  July  15, 
1857,  Vienna. 

Czerwenka  (Joseph)  played  oboe 
with  Haydn,  then  in  Vienna  Imperial 
Band,  and  taught  in  Vienna  Conser- 
vatory. B.  1759,  Benadek,  Bohemia; 
d.  1835,  Vienna. 

Czibulka  (Alphons)  composed 
"  Der  Bajazzo,"  Vienna,  1892,  and 
other  operettas  and  waltzes;  played 
piano  and  conducted.  B.  May  14, 
1842,  Szepes-Varallya,  Hungaria;  d. 
Oct.  27,  1894,  Vienna. 

Czimken.  Polish  dance,  similar  to 
the  country  dance. 

*Cayiabalum.     Hungarian  DULCI- 
MER. 


D  is  the  second  note  of  the  natural 
scale  of  C;  the  name  of  the  major 
key  having  F  and  C  sharpened,  the 
relative  minor  of  which  is  B;  of  the 
minor  key  having  B  flat,  the  relative 
major  of  which  is  F;  of  an  obsolete 
clef  indicating  d" ;  of  the  third  string 
of  the  violin;  the  second  string  of 
the  viola  and  of  the  'cello.  D  serves 
as  an  abbreviation  for  discantui, 
dessus,  destra,  droit,  de,  da,  dal.  Bt 
was  the  first  note  of  the  ancient 
Phrygian  and  Dorian  modes. 


DAASE 


149 


SAUCE  BLAITCHE 


Saase  (Budoph)  composed  for 
chorus  and  orchestra ;  conducted ;  pupil 
of  W.  A.  Bach,  Marx,  and  Wilsing. 
B.  Feb.  21,  1822,  Berlin;    add.  Berlin. 

Da  Ballo.    It.     In  dance  style. 

Babbuda.    It.    PSALTERY. 

Da  Camera.    It.    For  the  chamber. 

Da  Capella.    It.    In  church  style. 

Da  Capo.  It.  "From  the  begin- 
ning." 

Da  Capo  al  Fine.  It.  From  the 
beginning  to  the  double  bar,  which 
indicates  Fine. 

Da  Capo  al  Segno.  It.  From  the 
beginning  to  the  sign. 

D'Accord.     Pr.    In  tune. 

Dach.  Qer.  Sound  board  or  reso- 
nance box. 

Da  Chiesa.    It.    In  church  style. 

Dacbscbweller.     Qer.    Swell  box. 

Dacbstein  (Wolfgang)  composed 
"  An  Wasserjliissen  Babylon "  and 
other  chorales;  priest  and  organist 
Strasburg  Cathedral,  1520 ;  joined  Re- 
formed faith  and  married;  vicar  and 
organist  St.  Thomaskirche;    d.  1561. 

Dacbtylion.  Or.  Instrument  in- 
vented by  Henri  Herz  to  strengthen 
the  fingers. 

Dactyl.  Metrical  foot  composed  of 
one  long  and  two  short  syllables. 

Daina  or  Dainos.  Love  song  of 
Lithuania. 

Daire.     Turkish  tambourine. 

Dalayrac  (Nicholas)  composed 
"  La  Famille  Americaine "  and  Am- 
brose," 1793;  "Le  Corsaire,"  "Nina," 
"  Maison  a  vendre,"  and  in  all  56 
operas;  Chevalier  of  the  Legion  of 
Honor,  1800.  B.  June  13,  1753, 
Muret;    d.  Nov.  27,  1809,  Paris. 

Dalberg,  Baron  von  (Johann 
Friedrich.  Hugo)  composed  the  can- 
tatas "Jesus  auf  Golgotha,"  "Eva's 
Klagen,"  "An  die  Freude"  (Schiller)  ; 
wrote  and  translated  works  on  music. 
B.  May  17,  1752,  AscliaflFenberg;  d. 
July  26,  1812. 

Dalcroze  (Emile  Tacques)  com- 
posed "Janie,"  lyric  comedy,  Geneva, 
1893;  "Poem  Alpeatre,"  for  soli, 
chorus,  and  orchestra,  Geneva  Expo- 
sition, 1896;  "Sancho  Panza,"  lyric 
comedy,  Geneva,  1897;  "Festival  Vau- 
dois,"  soli,  chorus,  and  orchestra, 
Lausanne,      1903;      chamber     music, 


songs;  taught  harmony  and  singing, 
Geneva  Conservatory;  lectured,  wrote 
criticism;  pupil  of  Fuchs  and  Bruck- 
ner, Vienna,  and  Delibes,  Paris.  B. 
July  6,  1865,  Vienna;    add.  Geneva. 

Dale  (Joseph.)  published  music 
in  London,  1778,  business  continued  by 
his  sons  to  1835. 

Dallam  built  organs  in  England, 
1605-37;  also  called  Dalham,  Dal- 
lum,  Dallans.  Bobert,  Balph,  and 
George,  also  organ  builders,  were 
probably   his   sons. 

Dallery  (Charles)  built  organs  in 
France.  B.  about  1710,  Amiens. 
Pierre  built  organs  in  partnership 
with  CLICQUOT  for  Notre  Dame, 
Paris,  the  Ste.  Chapelle,  and  Ver- 
sailles. B.  1735 ;  nephew  of  CHARLES. 
Pierre  Frangois  assisted  his  father 
PIERRE  and  continued  the  business. 
B.  1764,  Paris;  d.  1833.  Louis  Paul 
continued  the  business.  B.  1797 ;  son 
of  PIERRE  FRANCOIS. 

Dalnaores  (Charles)  sang  ten.  in 
opera,  becoming  a  favourite  at  the 
Manhattan  Opera  House,  New  York, 
where  he  made  his  debut  in  1906,  when 
that  theatre  was  opened;  prize  pupil 
of  the  Paris  Conservatoire,  and  later 
prof,  of  the  Lyons  Conservatory.  B. 
Nancy,  Meurthe  and  Moselle,  France, 
Jan.  1,  1872;    add.  New  York. 

Dal  Segno.  It.  "  From  the  sign." 
Sign  usually  modified  from  letter  S. 

Daman  or  Damon  (William)  com- 
posed 40  psalm  tunes  published  in 
London  by  Este;  musician  to  Queen 
Elizabeth. 

Damascene  (Alexander)  composed 
songs;  sang  in  Eng.  Chapel  Royal. 
Probably  •  b.  Italy ;  naturalized  in 
Eng.,  1682;    d.  July  14,  1719. 

Dame  Blanche.  Francois  Adrien 
Boieldieu's  opera  comique,  to  book  by 
Scribe,  based  on  Walter  Scott's  novels 
"  The  Monastery  and  Guy  Manner- 
ing,"  proved  the  most  popular  work 
of  its  kind  in  French,  having  been 
performed  at  the  Opera  Comique  alone 
1340  times  up  to  June,  1875.  The 
English  version  is  called  "  The  White 
Maid."  The  Laird  of  Avenel,  Scot- 
land, follows  the  Stuarts  into  exile, 
having  entrusted  the  care  of  the  es- 
tate to  Gaveston,  his  steward.    Gaves- 


BAUENlSATIOir  150  DAUBOSCH 

ton  does  not  share  the  common  super-  lioz's  dramatic  legend  in  four  parts, 
stition  of  the  White  Lady  who  pro-  to  book  based  on  de  Nerval's  version 
tects  the  Avenels,  and  whose  statue  of  Goethe's  poem,  partly  by  Gandon- 
is  shown  in  the  castle,  and  believing  niere,  but  completed  by  Berlioz  him- 
the  Laird  to  have  died  without  heirs,  self,  was  first  performed  Dec.  6,  1846, 
offers  the  estate  for  sale,  hoping  to  at  the  Opera  Comique,  Paris,  in  con- 
bid  it  in  at  a  low  price  for  himself,  cert  form.  It  was  performed  at  Monte 
Anna,  ward  of  Gaveston  and  pro-  Carlo  as  opera,  1903,  and  New  York, 
tegfie  of  the  Laird,  determines  to  pre-  1908,  but  while  the  music  is  highly 
vent  this  rascality,  and  disguised  as  dramatic,  and  the  work  is  one  of  mas- 
the  White  Lady,  appears  in  the  vil-  sive  proportions,  embodying  the  com- 
lage,  and  writes  Dickson,  a  farmer,  poser's  best  efforts,  it  is  doubtless 
appointing  a  midnight  meeting  at  heard  to  better  advantage  in  concert. 
Avenel.  Dickson  is  afraid  to  go  to  Damoreau  (Laure  Cinthie  SEon- 
the  haunted  castle,  but  George  Brown,  talant)  sang  sop.  with  great  success; 
a  young  English  ofllcer  who  is  his  debut  as  Cherubino,  Theatre  Italien, 
guest,  offers  to  do  so.  Anna,  who  rec-  Paris,  at  18;  toured  Europe  and 
ognizes  in  Brown  the  young  officer  America,  1843;  taught  singing  at 
she  has  nursed  back  to  health  after  Paris  Conservatoire,  where  she  had 
a  dangerous  wound,  tells  him  there  been  a  pupil;  composed  "Album  de 
is  an  heir  to  the  Avenel  property,  and  romances  "  and  wrote  "  Mfithode  de 
implores  his  aid  in  circumventing  chant."  B.  Feb.  6,  1801,  Paris;  d. 
Gaveston.     When  the  sale  comes  on,   Feb.  25,  1863. 

Dickson  has  been  authorized  by  the  Damp.  To  stop  the  vibration  of 
neighbouring  farmers  to  bid  for  the  strings  of  the  harp  and  guitar  by 
property  so  as  to  prevent  Gaveston  touching  them  with  the  hand;  to 
from  securing  it,  but  Gaveston  outbids  apply  mechanical  dampers  or  mutes, 
him.  Brown,  prompted  by  Anna,  bids  Damper.  Cloth-covered  wooden 
higher,  and  when  payment  is  de-  mechanism  which  checks  the  vibra- 
manded,  Anna  produces  a  treasure  tions  of  a  piano's  string  on  the  rising 
which  had  been  hidden  by  the  old  of  the  key;  mute  employed  with  horn 
Laird  in  the  statue  of  the  White  and  other  brass  instruments. 
Lady,  and  tells  Brown  that  he  is  Dampfer.  Qer.  Damper;  violin 
Avenel's  heir.    Gaveston  tears  off  her   mute. 

veil,  revealing  the  fact  that  Anna  and  Damrosch.  (Dr.  Leopold)  placed 
the  White  Lady  are  one  and  the  same,  German  opera  on  a  profitable  perma- 
and  of  course  the  engagement  of  the  nent  basis  at  the  Metropolitan  Opera 
heir  and  his  young  protectress  fol-  House,  New  York,  1884-5;  founded 
lows.  The  principal  musical  numbers  the  Oratorio  Society,  New  York,  1874, 
are:  Act  I:  "Ah,  what  pleasure  to  the  New  York  Symphony  Society, 
be  a  Soldier,"  George;  "Where  yon  1878;  conducted  the  Arion  Singing 
Trees  your  Eye  discovers,"  the  White  Society,  New  York,  1871,  Philhar- 
Lady  and  chorus;  "Heavens!  what  monic  concerts,  1876-7;  New  York 
do  I  hear?"  trio  finale.  Act  II:  Music  Festival  of  1881;  composed 
"Poor  Margaret,  spin  away!  "  spin-  "  Sulamith,"  sacred  cantata,  sop.,  ten., 
ning  song,  Margaret  (Anna's  nurse)  ;  chorus,  and  orchestra;  "Ruth  and 
"Come  O  gentle  Lady,"  George;  Naomi,"  oratorio;  church  music  pub- 
"From  these  Halls,"  duet;  septet  lished  as  "Saint  Cecilia";  "Thou, 
with  chorus,  finale.  Act  III:  "With  Who  art  God  alone"  (Masonic),  bar., 
what  delight  I  behold,"  Anna;  and  male  chorus,  and  orchestra;  Lexing- 
the  chorus  "Robin  Adair,"  slightly  ton  Battle  Hymn,  mixed  chorus; 
unfamiliar  but  very  graceful  as  "Cherry  Ripe,"  part  song,  all  pub- 
treated  by  Boieldieu.  lished  in  the  United  States,  and  songs, 

Damemsation.     Graun's  system  of  coneertstucke,  violin  pieces,  etc.,  pub- 
Solmisation.  lished  in  Germany.     A   physician   in 

Damnation  de  Faust.    Hector  Ber-   early  Hfe,  Damrosch  abandoned  medi- 


SASIBOSCE 


151 


DAITCE  3CrSIC 


cine  for  the  violin,  became  concert- 
meister  at  Weimar  under  Liszt, 
formed  friendship  with  Wagner,  and 
later  as  conductor  of  the  Breslau 
Philharmonic  Society,  presented  the 
music  of  Liszt,  Wagner,  and  Berlioz. 
After  extensive  concert  tours  he  or- 
ganized the  Breslau  Orchesterverein, 
1862,  where  he  remained  until  sailing 
for  New  York,  1871.  Columbia  Col- 
lege conferred  the  degree  doctor  of 
music  upon  him,  1880.  B.  Posen, 
Prussia,  Oct.  22,  1832;  m.  Helene  von 
Heimburg;  d.  Feb.  15,  1885.  Frank 
Heino  founded  the  Musical  Art  So- 
ciety, the  People's  Sight  Singing 
Classes,  and  People's  Choral  Union, 
INSTITUTE  OF  MUSICAL  ART; 
wrote  a  "  Popular  Method  of  Sight 
Singing,"  1894;  conducted  the  Ora- 
torio Society,  1898,  the  Mursurgia, 
Bridgeport  Oratorio  Society,  Orpheus 
and  Eurydice  societies  of  Philadel- 
phia; the  MENDELSSOHN  GLEE 
CLUB;  became  supervisor  to  New 
York  Public  Schools,  1897.  In  early 
life  Mr.  Damrosch  engaged  in  business 
in  Denver,  but  eventually  became  su- 
pervisor of  music  in  the  schools  there, 
a  church  organist,  and  conductor  of 
the  Denver  Chorus  Club.  During  the 
administration  of  Dr.  Damrosch  at  the 
Metropolitan  Opera  House,  and  for  a 
time  thereafter,  he  was  ohorusmaster. 
B.  Breslau,  June  22,  1859;  son  of 
LEOPOLD;  add.  New  York.  Walter 
Johannes  composed  the  opera  "  Scar- 
let Letter,"  to  book  by  G.  P.  Lathrop, 
based  on  Hawthorne's  romance,  Bos- 
ton, Feb.  11,  1896;  "Manila  Te 
Deum,"  1898;  "Cyrano,"  to  book  by 
Henderson,  based  on  Rostand's  play, 
1903;  conducted  German  opera  at 
Metropolitan  Opera  House  as  assistant 
to  his  father,  whom  he  succeeded  as 
eondvictor  of  the  Oratorio  and  Sym- 
phony societies;  later  was  assistant 
conductor  to  Seidl;  founded  the  Dam- 
rosch Opera  Company,  1894;  played 
New  York  and  other  cities  five  years; 
retired  to  compose;  became  conduc- 
tor of  German  operas  under  the  Grau 
regime  at  the  Metropolitan  Opera 
House;  of  the  New  York  Philhar- 
monic Society,  1902-3;  and  then  es- 
tablished   the    Damrosch    Symphony 


Orchestra,  later  known  as  the  New 
York  Symphony  Orchestra,  which  gave 
concerts  at  Carnegie  Hall,  New  York. 
B.  Jan.  30,  1862,  Breslau;  son  of 
LEOPOLD;  m.  Margaret,  daughter 
of  James  G.  Blaine,  ex-Secretary  of 
State,  etc. ;   add.  New  York. 

Danby  (John)  composed  the  glee 
"Awake  Aeolian  lyre!''  secured  10 
prizes  at  the  Catch  Club;  published 
four  books  of  compositions;  wrote 
"  Guida  alia  Musica  Vocale,"  1787. 
B.  England,  1757;  d.  London,  May 
16,  1798. 

Dance  CWilliam.)  with  Cramer  and 
Corri  founded  the  London  Philhar- 
monic Society,  1813;  played  violin 
and  led  orchestras.  B.  1755,  London; 
d.  June  5,  1840.  Henry,  son  of  WIL- 
LIAM, was  the  Philharmonic  Society's 
first  secretary. 

Dance  llusic  has  played  a  most 
important  part  in  the  origin  of  FORM, 
if  it  be  not  the  original  form,  of  all 
music  in  all  countries.  It  is  quite 
conceivable  that  the  first  idea  of 
rhythm,  whether  in  poetry  or  music, 
was  suggested  by  the  dance ;  it  is  cer- 
tain that  all  instruments  of  percus- 
sion were  invented  and  employed  to 
mark  the  steps  in  dancing;  and  since 
dancing  was  a  religious  rite  as  well  as 
a  social  diversion  with  all  primitive 
peoples,  the  first  attempts  at  singing 
were  probably  guttural  grunts,  rising 
or  falling  in  tone  as  the  dancers  be- 
came more  excited  and  more  rapid  in 
movement,  or  slackening  as  their  vigour 
relaxed.  Of  such  a  type  is  the  dance 
of  the  American  Indian  and  of  the 
savage  tribes  in  Africa.  Dancing 
formed  part  of  the  religious  ritual  of 
the  Jews  and  of  Greeks,  and  of  the  Ro- 
mans, but  there  soon  came  to  be  a  dis- 
tinction between  the  religious  dances 
and  those  meant  for  social  entertain- 
ment. The  ancient  secular  dances  were 
largely  gymnastic,  that  is,  intended  for 
exercise;  or  mimetic,  that  is,  convey- 
ing emotion  by  gesture,  and  the  various 
dances  in  Greece  were  so  highly  spe- 
cialized that  there  is  reason  to  believe 
they  included  a  form  of  entertainment 
closely  corresponding  to  the  modern 
ballet  d'action,  which  developed  in 
Italy   in   the   16th   century.     During 


SANCLA 


152 


DA  PONTE 


the  early  ages  of  Christianity  dancing 
was  not  wholly  discouraged,  but  it  is 
probably  because  of  the  pagan  origin 
of  the  dance  and  its  connection  with 
pagan  worship  that  rhythm  was  ig- 
nored in  the  songs  used  in  Christian 
worship.  At  any  rate  secular  music 
came  to  be  noted  as  to  rhythm  long 
before  church  music,  which  had  reached 
its  final  perfection  in  form  in  the 
16th  century,  was  so  divided;  and  as 
the  secular  songs  were  nearly  always 
composed  in  some  dance  rhythm,  the 
practice  of  the  leaders  of  rebellion 
against  the  authority  of  Rome  in  reli- 
gious matters  of  having  the  hymns 
and  chorales  adapted  to  popular  music, 
soon  reacted  on  the  older  church  music 
itself.  There  is  a  remarkable  similar- 
ity in  the  dance  rhythms  of  all  Euro- 
pean races,  however  different  they  may 
be  in  name.  In  various  forms,  these 
rhythms  have  perpetuated  themselves 
in  the  SONATA  and  SYMPHONY 
from  the  earlier  orchestral  suites, 
which  were  merely  various  dances  so 
brought  together  as  to  give  an  agree- 
able sense  of  variety.  Modem  com- 
posers, even  more  than  those  of  the 
classic  period,  borrow  freely  of  the 
dance  tunes  of  every  nation,  and  the 
waltz  is  taking  its  place  along  with 
the  gavotte,  sarabande,  scherzo,  con- 
tredanse,  and  minuet  in  the  severest 
forms  of  music. 

Dancla  (Jean  Baptiste  Charles) 
composed  etudes  for  violin  which  are 
still  valuable;  played  that  instrument 
with  distinction  and  taught  at  the 
Paris  Conservatoire,  where  he  had 
been  a  pupil  of  Baillot.  B.  1818, 
BagnSres  de  Bigorre.  Arnaud  played 
'cello  and  wrote  on  musical  topics.  B. 
1820;  brother  of  J.  B.  C;  d.  1862. 
Iieopold  composed.  B.  1825;  brother 
of  J.  B.  C;   d.  1895,  Paris. 

Dando  (Joseph  Haydn  Bourne) 
played  violin  in  Philharmonic  and 
other  London  orchestras;  founded 
string  quartet;  taught  at  Charter- 
house; pupil  of  his  uncle  Gaetana 
Brandi  and  of  Mori.  B.  May  11,  1806, 
Somers  Town;    d.  May  9,  1894. 

Banican.  Name  of  French  family 
of  musicians  better  known  as  PHILI- 
DOR. 


Daniel  (Hermann  Adalbert)  wrote 
"Thesaurus  Hymnologicus,"  which  con- 
tains a  valuable  collection  of  hymns 
and  their  history.  B.  1812,  CSthen 
near  Dessau;  taught  Halle  University. 

Dankerts  (Ghiselin)  composed 
church  music  and  songs;  sang  in 
Papal  Chapel,  1538-65.  B.  Tholen  in 
Zealand. 

Danneley  (Jolin  Feltham)  wrote 
"  Elementary  Principles  of  Thorough 
Bass,"  1820;  "An  Encyclopaedia  or 
Dictionary  of  Music,"  1825 ;  "  A  Mu- 
sical Grammar,"  1826;  played  organ 
and  taught.  B.  1786,  Berkshire,  Eng. ; 
d.  1836,  London. 

Dannreuther  (Edward  George) 
composed  songs  and  duets;  wrote 
"  Musical  Ornamentation,"  "  Wagner 
and  the  Reform  of  the  Opera,"  1904; 
translated  Wagner's  books;  played 
piano  in  concert  and  taught  that  in- 
strument. Royal  College  of  Music, 
1895;  lectured  and  contributed  to 
magazines;  pupil  of  P.  L.  Ritter,  Cin- 
cinnati; of  Moscheles,  Hauptmann, 
and  Riehter,  Leipsic  Conservatory; 
London  debut  at  Crystal  Palace,  April 
11,  1863.  B.  Nov.  4,  1844,  Strasburg; 
d.  Feb.  12,  1905,  London.  Gustav 
wrote  "  Chord  and  Scale  Studies  for 
Young  Players " ;  founded  Dannreu- 
ther  string  quartet.  New  York;  led 
Symphony  and  Oratorio  societies; 
pupil  of  de  Ahna  and  Joachim  and 
Heitel,  Berlin;  joined  Mendelssohn 
Quintet  Club,  Boston,  1877;  played  in 
Boston  Symphony  Orchestra,  1882-84; 
directed  Buffalo  Philharmonic  Society. 
B.  July  21,  1853,  Cincinnati;  add. 
New  York. 

Danzi  (Erancesca)  was  the  maiden 
name  of  MME.  LEBRUN. 

Danzi  (Eranz)  composed  11  operas, 
including  "Die  Mitternachtsstunde," 
"Der  Kuss,"  "Cleopatra,"  "Iphi- 
genia  " ;  vice  chapelmaster  at  Munich ; 
chapelmaster  at  Stuttgart  and  Carls- 
ruhe;  m.  the  singer  Marguerite  Mar- 
chand,  and  conducted  opera  companies 
in  which  she  sang;  taught  singing 
and  wrote  "  Singing  Exercises."  B. 
May  15,  1763,  Mannheim;  d.  April  13, 
1826,  Carlsruhe. 

Da  Ponte  (Lorenzo)  wrote  books 
■of  "Don  Giovanni"  and  "Cosi  Fan 


DAQTJIN 


153 


DAVID 


Tutti,"  for  Mozart;  poet  laureate  to 
Emperor  Joseph  II  at  Vienna  until 
1792;  librettist  to  Italian  opera  in 
London,  1803;  taught  Italian  at  Co- 
lumbia University,  New  York;  wrote 
"Memorie."  B.  Ceneda,  near  Venice, 
Mar.  10,  1749;  d.  New  York,  Aug.  17, 
1838. 

Daqiiin  (Iiouis  Claude)  composed 
"  Coucou  "  and  other  harpsichord  mu- 
sic; organist  at  St.  Antoine's,  Paris, 
at  12,  and  at  St.  Paul's  from  1727. 
B.  July  4,  1694,  Paris;  son  of  L.  C,  a 
harpsichordist;  d.  Paris,  June  15, 
1772. 

Darabooka.     Arabian  drum. 

Dargomijsky  (Alexander  Sergei- 
vich)  composed  the  "  Stone  Guest," 
which  was  completed  by  Kimsky  Kor- 
sakoff and  expressed  in  opera  the  latest 
ideas  of  the  New  Russian  school  in 
dramatic  reform,  the  text  being 
adapted  from  Poushkin's  drama  which 
follows  in  the  main  the  story  of  Mo- 
zart's "Don  Giovanni,"  1872;  "Esmer- 
alda," from  Hugo's  "  Notre  Dame  de 
Paris";  "The  Triumph  of  Bacchus," 
to  book  by  Poushkin ;  "  Roussalka," 
to  book  adapted  from  Poushkin's 
poem;  "Rogdane,"  unfinished  fairy 
opera;  and  for  orchestra,  piano,  and 
voice.  An  official  in  early  life,  a  meet- 
ing with  Glinka  determined  Dargo- 
mijsky to  devote  himself  to  music. 
His  songs  rank  as  the  best  of  the 
Russian  school  and  display  great  va- 
riety in  treatment,  those  in  oriental 
style,  "An  Eastern  Song,"  "I  Think 
that  thou  wert  born  for  this,"  and 
"  O  maid  my  rose,"  being  especially 
noteworthy.  His  "Kazachok,"  "Dance 
of  the  Mummers,"  and  "Russian  Le- 
gend," orchestral  fantasias,  first  ob- 
tained recognition  in  Belgium  during 
a  tour  of  Europe  made  by  the  com- 
poser, 1864,  and  on  his  return  to  Rus- 
sia he  formed  a  close  connection  with 
Balakirev.  B.  Feb.  14,  1813,  on  an 
estate  in  Toula;  d.  Jan.  1869,  St. 
Petersburg. 

Danusaiten.    Uer.    Catgut  strings. 

Dash.  Indicates  a  more  pronounced 
staccato  than  a  dot;  in  harpsichord 
music  a  slur  or  coulfi;  sharpens  the 
interval  a  semitone  when  drawn 
through  a  figure  in  Thorough  Bass. 


Da  Teatro.    /*.    In  theatrical  style. 

Daublaine  &  Callinet  built  organs 
in  Paris,  1828  to  1855,  when  the  firm 
became  a  corporation,  to  which  Merk- 
lin,  Schiltze  &  Co.  are  successors. 

Dauer.  Oer.  Duration  of  vibra- 
tion. 

Daughter  of  St.  Mark.  Michael 
William  Balfe's  opera  to  book  by 
Bunn,  founded  on  "  La  reine  de 
Chypre,"  was  first  performed  Nov.  27, 
1844,  at  Drury  Lane,  London. 

Daumen.     Ger.    Thumb. 

Dauney  (William)  wrote  "  Disser- 
tation illustrative  of  the  history  of 
music  in  Scotland,"  1838,  in  connec- 
tion with  tablature  music  which  he 
collected  and  deciphered;  lawyer  and 
government  official.  B.  Oct.  27,  1800, 
Aberdeen,  Scotland;  d.  July  28,  1843, 
Georgetown,  Demerara. 

Dauvergne  (Antoine)  composed 
"Les  Troquers,"  1753,  and  in  all  15 
operas,  the  ballet  "  Les  Amours  de 
Tempg";  managed  Paris  Opera,  con- 
ducted opera  and  concerts  spirituel, 
played  violin;  surintendant  de  mu- 
sique,  1769-76.  B.  Oct.  4,  1713,  Cler- 
mont-Ferrand; d.  Lyons,  Feb.  12, 
1797. 

Davenport  (Francis  William) 
composed  symphonies  in  D  minor  ( Ist 
prize  at  Alexandra  Palace  competition, 
1876]  and  in  C;  overture  "Twelfth 
Night,"  1879;  "Prelude  and  fugue" 
for  orchestra,  1879;  chamber  music; 
wrote  "Elements  of  Music,"  1884; 
"  Elements  of  Harmony  and  Counter- 
point," 1886;  "Guide  for  Pianoforte 
Students,"  1891 ;  taught  Royal  Acad- 
emy and  Guildhall  School  of  Music; 
pupil  of  Sir  George  Macfarren,  whose 
daughter  he  married.  B.  Wilderslowe, 
near  Derby,  1847;    add.  London. 

David  (relicien  Cesar)  composed 
the  op6ra  comique  "  La  Perle  du  Br6- 
sil,"  1851;  "Lalla  Rookh,"  1862;  and 
the  symphonic  ode  "  Le  Dfisert,"  1844 ; 
the  oratorio  "Moise  au  Sinai,"  1846; 
the  descriptive  symphony  "  Christophe 
Colomb,"  1847,  and  with  "Hercu- 
lanemn,"  produced  at  the  Grand 
Opera,  Paris,  1859,  largely  built  up 
of  the  earlier  work  "  La  Fin  du 
Monde,''  which  was  never  performed, 
won  the  state  prize  of  20,000  francs. 


DAVID 


154 


DA  VIES 


Son   of   a   gifted   amateur   musician, 
David  became  a  chorister  at  Aix  Ca- 
thedral, composed  hymns  and  a  quartet 
for  strings  at  13;    conducted  at  the 
Aix  theatre  and  later  at  St.  Sauveur; 
entered  the  Paris  Conservatoire,  1830; 
joined  the  St.   Simoniens,   1831,  and 
composed  for  them,  and  on  the  disso- 
lution of  the  society  three  years  later, 
went  to  Marseilles,  and  thence  to  Con- 
stantinople, Smyrna,  Egypt,  and  Pal- 
estine.     In    1835    he    returned    with 
collections   of   "  Melodies   orientales  " 
for    piano,    which    failed    of    success, 
whereupon   he   withdrew   from   Paris 
to    Igny,    composed   two    symphonies, 
chamber  music,  and  "Les  Hirondelles," 
and  other  songs.    "  Le  Desert "  proved 
hi^  first  great  success,  and  thereafter 
David  lived  in  Paris,  was  elected  to 
the  Academic,  and  for  the  last  seven 
years  of  his  life  served  as  librarian 
to  the  Conservatoire.    Other  works  to 
be   noted    are:    "Eden,   a   mystery," 
1848;   "Le  Saphir,"  Op6ra  Comique, 
1865,    and    the    "  Beatus    Vir"    and 
"  Ave  Verum,"  composed  in  early  life. 
B.  April  13,  1810,  Cadenet,  Vaucluse; 
d.  Aug.  29,  1876,  St.  Germain  en  Laye. 
David  (Ferdinand)  wrote  a  valu- 
able "  Violin  School  " ;    collected  the 
works   of  early  violinists   in   "  Hohe 
Schttle   des  Violonspiels  " ;    composed 
the  opera  "Hans  Wacht"  and  much 
music  for  violin  and  string  combina- 
tions;   revised  and  was  first  to  per- 
form   the   Mendelssohn    concerto    for 
violin;    taught  violin  in  Leipsic  Con- 
servatory,   numbering    Joachim    and 
Wilhelm  j  among  his  pupils ;  was  Men- 
delssohn's  concertmeister  at  the   Gre- 
wandhaus  concerts,  Leipsic,    1836   to 
his  death;    highly  esteemed  through- 
out Europe   as   solo  violinist,   editor 
and  teacher.    B.  July  19,  1810,  Ham- 
burg;   pupil    of    Spohr    and    Haupt- 
mann;    brother  of  Mme.  DULCKEN; 
d.  while  on  an  excursion  to  the  Gri- 
sons,  July  18,  1873.    Peter  Paul  led 
Carlsruhe  orchestra,  1862-65;    taught 
in  England;   pupil  of  his  father,  FER- 
DINAND.   B.  Dec.  1,  1840;   add.  Up- 
pingham, Eng. 

Davidde  Penitente.  W.  A.  Mo- 
zart's cantata  for  three  solo  voices, 
chorus,   and  orchestra,  was  adapted 


from  his  C  minor  unfinished  mass  to 
Italian  words  by  an  unnamed  author 
and  produced  Mar.  13  and  15,  1785, 
at  the  Burg  Theatre,  Vienna,  at  the 
benefit  of  the  Tonkiinstler  Societat. 

Davide  (Giacomo)  sang  ten.  with 
great  success  in  opera  and  church, 
1785-1820,  Naples,  London,  Florence, 
and  Bergamo.  B.  1750,  Presezzo,  near 
Bergamo;  d.  Dec.  31,  1830,  Bergamo. 
Giovanni  sang  ten.  in  opera,  with 
range  of  three  octaves;  founded  vocal 
school  in  Naples,  1841;  became  man- 
ager of  St.  Petersburg  Opera;  pupil 
of  his  father  GIACOMO.  B.  1789; 
d.  1851,  St.  Petersburg. 

Davidofl  (Charles)  composed  sym- 
phonic sketch  for  orchestra.  Op.  27; 
Russian  Fantasia,  Op.  7;  Orchestral 
suite.  Op.  37;  popular  songs  and 
chamber  music;  four  concertos  for 
'cello,  which  instrument  he  played  at 
the  St.  Petersburg  Opera  and  taught 
in  the  Conservatoire;  he  wrote  an 
excellent  "  School  for  Violoncello."  B. 
Mar.  17,  1838,  Goldingen,  Courland; 
d.  Feb.  15,  1889,  Moscow. 

Davidsbiindler.  Schumann's  imag- 
inary society  for  fighting  the  battles 
of  the  New  Music  against  the  Phil- 
istines. 

Davidson  (G.  E.)  published  music 
in  London,  1842-59. 

Davies  (Ben)  sang  ten.  in  English 
opera  and  concert,  in  Welsh  choirs,  as 
a  boy,  and  at  the  Crystal  Palace; 
pupil  Royal  Academy  of  Music;  joined 
Carl  Rosa  Company,  1881;  debut  in 
oratorio  at  Norwich,  1890;  since  then 
a  favourite  in  England  and  America. 
B.  Jan.  6,  1858,  near  Swansea;  m. 
Clara  Perry,  1885;    add.  London. 

Davies  (Fanny)  played  piano  in 
concert;  noted  for  interpretations  of 
Brahms  and  Schumann ;  pupil  of  Mme. 
Schumann.  B.  June  27,  1861,  Guern- 
sey;   add.  London. 

Davies  (Ffranggon)  sang  bar.  in 
English  and  American  festivals,  and 
in  opera,  debut  with  Carl  Rosa  Com- 
pany, 1890,  as  the  herald  in  "Lohen- 
grin " ;  sang  ballads  admirably,  be- 
came vocal  teacher  at  Royal  Academy 
of  Music,  1903,  and  wrote  on  voice 
training;  was  graduated  from  Jesus 
College,  Oxford,  where  he  gained  a 


BAVIES 


155 


BEBtrSSY 


classical  exhibition,  and  took  orders, 
but  withdrew  from  the  priesthood  be- 
cause of  doctrinal  convictions.  B. 
Bethesda,  Carnarvon,  Dee.  11,  1860; 
add  London. 

Savies  (Dr.  Henry  "Waif  ord)  com- 
posed the  cantata  "  Herv6  Kiel,"  1895 ; 
setting  of  the  mystery  play  "  Every- 
man," Leeds  Festival,  1904;  "The 
Temple,"  oratorio,  Worcester  Festival, 
1902;  Dedication  overture,  symphony 
in  D;  Cathedral  Service;  anthems; 
part  songs;  a  quartet  in  E  flat  for 
piano  and  strings,  and  other  chamber 
music;  played  organ;  taught  counter- 
point Royal  College  of  Music,  1895- 
1903,  and  in  that  year  became  director 
Bach  Choir.  B.  Sept.  6,  1869,  Os- 
westry;  add.  London. 

Davies  (IVtarianne  and  Cecilia) 
taught  music  to  the  daughters  of 
Empress  Maria  Theresa  in  Vienna  and 
won  celebrity  as  singers  and  instru- 
mentalists. Marianne  at  her  London 
debut,  1751,  played  flute  and  harpsi- 
chord, and  sang;  later  became  per- 
former on  "  the  musical  glasses."  B. 
1744;  d.  1792.  Cecilia  was  the  first 
woman  of  English  birth  to  be  accepted 
as  an  opera  singer  in  Italy;  suffered 
from  extreme  poverty  in  old  age.  B. 
about  1750;    d.  July  3,  1836. 

Davies  (Mary)  sang  mez.  sop.  at 
English  festivals;  debut  at  eight  in  a 
chapel  in  London,  of  which  her  father 
was  precentor;  won  scholarship  at 
Royal  Academy  of  Music,  and  gained 
Parepa-Rosa  gold  medal  and  Nilsson 
prize;  m.  W.  C.  Davies,  1888;  re- 
tired 1900.  B.  Feb.  27,  1855,  London; 
add.  Worthing. 

Davis  (Thomas)  composed  six  solos 
for  flute  or  violin  with  bass  or  harpsi- 
chord, country  dances,  and  "  Twenty 
English  and  Scotch  airs  " ;  one  publi- 
cation dated  London,  1751. 

Davison  (James  William)  wrote 
music  criticism  for  London  "  Times," 
1846-1879,  continually  attacking  Schu- 
mann, Gounod,  Liszt,  and  Wagner,  and 
upholding  the  classicists ;  edited  harp- 
sichord music  for  piano;  composed 
songs.  B.  Oct.  5,  1813,  London;  m.  the 
pianist,  Arabella  Goddard;  d.  Mar.  24, 
1885. 

Davy  (John)  composed  "The  Bay 


of  Biscay  "  and  many  other  songs  once 
highly  popular;  "Rob  Roy,"  1803; 
"  Woman's  Will,  a  Riddle,"  1820,  and 
other  forgotten  dramatic  pieces; 
played  in  Covent  Garden  Theatre  and 
taught.  B.  Dec.  23,  1763,  near  Exeter, 
Eng. ;   d.  Feb.  24,  1824,  London. 

Davy  or  Davys  (Bichard)  com- 
posed for  virginal,  motets,  and  secu- 
lar songs;  choirman  and  organist 
Magdalen  College,  Oxford,  1490-92. 

Day  (Alfred,  3I.D.)  wrote  a 
"  Treatise  on  Harmony  "  designed  to 
replace  the  existing  rules  by  proposing 
such  as  would  harmonize  with  the  nu- 
merous exceptions  occurring  in  the 
works  of  the  great  masters;  propos- 
ing a  new  nomenclature  for  figured 
bass  and  a  simplified  system  of  chords. 
B.  1810,  London;   d.  Feb.  11,  1849. 

Day  (DEaj.  Charles  Russell) 
wrote  "  The  Music  and  Musical  Instru- 
ments of  Southern  India  and  the  Dec- 
can,"  Novello  &  Co.,  1889,  the  only 
authority  on  that  subject;  served  in 
India  with  British  army,  1882-87; 
mortally  wounded  in  attack  on  Cronje, 
Paardeberg,  South  Africa,  Feb.  18, 
1900.  B.  1860,  Norwich;  d.  Feb.  18, 
1900. 

Day  (John)  published  music  in 
London,  1547,  to  his  death,  1584,  when 
the  business  was  continued  by  his  son 
Richard. 

D.  C.     Abbreviation  for  DA  CAPO. 

D  Dur.    Oer.    D  major. 

Deane  (Dr.  Thomas)  composed 
music  for  the  play  "  Governor  of  Cy- 
press," a  service,  and  other  church 
music;  played  organ  and  violin  and  is 
said  to  have  performed  a  Corelli  so- 
nata in  England  for  the  first  time, 
1709. 

Debain  (Alexander  Frangois)  in- 
vented the  HARMONIUM,  patented, 
1840,  and  founded  a  piano  factory  in 
Paris.  B.  1809,  Paris;  d.  Dec.  3, 
1877. 

Deborah.  George  Frederick  Handel's 
oratorio,  largely  adapted  from  his 
earlier  works,  to  book  by  Humphreys, 
was  completed  Feb.  21.  1733,  and  pro- 
duced Mar.  17,  1733,  at  the  Hay- 
market,  London. 

Debussy  (Claude  Achille)  won  the 
Prix  de  Rome  at  the  Paris  Oonserva- 


DEBUT 


156 


DEITEKS 


toire,  1884,  with  his  cantata  "L'En- 
fant  Prodigiie,"  and  while  in  Rome 
composed  the  setting  of  Eossetti's 
"  Blessed  Damoael "  ( "  La  Demoiselle 
6hi"),  which  was  rejected  by  the 
French  authorities;  an  orchestral 
suite,  string  quartet,  prelude  sym- 
phonique  to  "  Apres  midi  d'un  faune," 
ariettes  to  poems  of  Paul  Verlaine,  five 
"  Pofimea  de  Baudelaire,"  "  Chansons 
de  Biliis,"  "  Chimine,"  opera  to  book 
by  Catulle  Mendez ;  "  Nuagea "  and 
"  Fetes "  for  orchestra,  a  suite  ,for 
piano,  and  Maeterlinck's  "PELLEAS 
et  MELISANDE,"  Op6ra  Comique, 
Paris,  1902.  B.  Aug.  22,  1862,  St. 
Germain  en  Laye;    add.  Paris. 

Debut.     Fr.     First  appearance. 

Debutant.  Fr.  One  appearing  for 
the  first  time.  The  feminine  ia 
debutante. 

Dec.  Abreviation  of  DECANI  and 
of  DECRESCENDO. 

Decachordon.  Or.  Ten  stringed 
instrument. 

Decani.  L.  The  division  of  a  choir 
sitting  on  the  dean's  or  south  side 
"of  the  cathedral  aa  opposed  to  the 
CANTORIS. 

Deceptive  Cadence.  One  in  which 
the  laat  chord  is  other  than  the 
tonic. 

Decide.     Fr.    Decidedly;    firmly. 

Decima.  L.  "A  tenth";  Plena 
de  Tonis,  major  tenth;  Non  Plena 
de  Tonis,  minor  tenth;  Quarta,  a 
fourteenth;  Quinta,  fifteenth;  Tertia, 
thirteenth. 

Decimole.    DECUPLET. 

Decisio.  Major  semitone  or  APO- 
TOME. 

Deciso.     It.    Determined. 

Decke.  Ger.  Cover  or  back  or 
belly  of  resonance  box;  cover  of 
stopped  metal  organ  pipes. 

Declamando.  It.  In  declamatory 
style. 

Declamation.  Recitative  as  op- 
posed to  song.  "  Declamation  music  " 
such  aa  the  Strauss  musical  setting 
of  Tennyson's  "  Enoch  Arden "  is 
merely  incidental  music  played  while 
the  poem  is  being  read  in  speaking 
voice. 

Decompose.     Fr.     Disconnected. 

Decoration.    Fr,    A  signature. 


Decres.  Abbreviation  of  DECRES- 
CEiVDO. 

Decrescendo.  /*.  To  gradually 
decrease  the  volume  of  tone. 

Dedekind  (Constantin  Christian) 
wrote  and  composed  poetic  dramaa  on 
sacred  subjects  and  church  music; 
court  chapelmaster  and  poet  at  Dres- 
den. B.  Reinsdorf,  Anhalt-Cothen, 
where  his  father  was  pastor,  April  2, 
1628;   d.  Sept.  7,  1697. 

Dedekind  (Euricius)  composed 
church  music;  cantor  Johanniskirche, 
Luneberg.  B.  Neustadt,  Saxe- Weimar, 
1585;  d.  1619.  Henning  composed; 
officiated  in  Thuringia  as  cantor  and 
pastor.  B.  Luneberg,  son  of  Fried- 
rich,  paator  of  St.  Michaels,  brother 
of  EURICIUS;    d.  1630. 

Dedicate.     It.    Dedicated. 

Dedi€.    Fr.    Dedicated. 

Deduction.  L.  Succession  of  notes 
in  hexachords. 

Defesch  (William)  composed  the 
oratorios  "  Judith "  and  "  Joseph," 
songa  and  chamber  muaic;  played  or- 
gan in  Antwerp.  B.  Flanders;  d. 
about  1758. 

Deflciendo.  It.  Slowly  diminish- 
ing. 

Degrg.    Fr.    Degree  of  a  scale. 

Degree  of  a  Scale.  Intervals  of  a 
tone,  semitone,  or  augmented  tone. 

Degrees  in  Music  are  conferred  by 
varioua  univeraitiea  eitlier  after  pre- 
scribed courses  of  study  and  examina- 
tion or  honoris  causa.  They  are  Bach- 
elor, Master,  and  Doctor  of  Music. 

Dehn  (Siegfried  Wilhelm)  wrote 
on  theory;  edited  and  collected  muaic 
and  biographical  material;  was  given 
charge  of  the  musical  portion  of  the 
Berlin  Royal  Library  on  Meyerbeer's' 
recommendation.  B.  Feb.  25,  1799;  d. 
Berlin,  April  12,  1858. 

Dehnung.  Ger.  Expansion  or 
extension. 

Dehnungstricbe.  Ger.  Long  bow 
stroke. 

Deiss  (Michael)  composed  "  Misit 
Horodes  rex"  and  other  motets;  mu- 
sician to  Emperor  Ferdinand  I,  16th 
century. 

Deiters  (Hermann)  revised  and 
translated  into  German  Thayer's  "  Life 
of   Beethoven,"  which  he  completed; 


DEIi 


157 


DEBEONIO 


published  biography  of  Brahms,  1880 
(Eng.  version  by  Mrs.  Newmaroh, 
1888);  wrote  for  various  musical  pub- 
lications. B.  June  27,  1833,  Bonn; 
Dr.  Juris  et  Lit.  Bonn;    add.  Berlin. 

Del,  Delia,  Delle,  Dello.  It.  "  Of 
the." 

Delaborde  (£.  3C.)  composed  the 
op€ra  comique  "La  Keine  dort";  the 
overture  "Attila,"  chamber  music; 
played  piano,  pupil  of  Alkan  and 
Moscheles;  taught  Paris  Conserva- 
toire, 1872.  B.  Feb.  7,  1839,  Paris; 
add.  Paris. 

Dglassement.  Pr.  Light  enter- 
tainment. 

Deldevez  (Eduard  Karie  Ernst) 
compiled  an  "  Anthology  of  violinists  " 
in  4  vols.;  composed  a  requiem,  three 
symphonies,  songs,  chamber  music,  the 
ballets  "  Lady  Henriette,"  "  Eucharis," 
"  Paquita,"  "  Vertvert " ;  second  con- 
ductor at  Paris  Opera,  1859,  and  at 
Concerts  du  Conservatoire;  chief  con- 
ductor, 1873 ;  retired  1877  and  1885.  B. 
May  31,  1817,  Paris;   d.  Nov.  6,  1897. 

Deliberatame&te.       It.       Deliber-  - 
ately. 

Deliberate.     It.    Deliberate. 

Delibes  (Clement  Fbilibert  Leo) 
composed  the  ballets  "  Coppelia  "  and 
"  Sylvia,"  which  are  among  the  most 
beautiful  in  modem  repertoire,  the 
opera  "LAKME,"  and  many  other  less 
successful  dramatic  works,  choruses, 
songs;  taught  in  the  Paris  Conserva- 
toire; Chevalier  of  the  L^on  of 
Honor  and  Member  of  the  Institut. 
In  1848  Delibes  was  admitted  to  the 
solfege  class  at  the  Conservatoire,  and 
sang  in  the  Madeleine  and  other 
churches;  won  first  prize  in  solfege, 
1850;  and  studied  under  Le  Couppey, 
Benoist,  and  Adolphe  Adam._  In  1853 
he  was  appointed  accompanist  at  the 
Theatre  Lyrique  and  organist  at  Pierre 
de  Chaillot  upon  Adam's  recommenda- 
tion, and  from  1862  to  1871  was  or- 
ganist at  St.  Jean  St.  Frangois,  and 
in  1865  became  accompanist  and  later 
second  chorusmaster  at  the  Opera. 
"  Deux  sous  de  Charbon  "  was  his  first 
dramatic  piece,  1855,  and  the  later 
operas  followed  in  the  order  given: 
"Maltre  GriflFard,"  "De  Jardinier  et 
son  Seigneur,"  "  Deux  veilles  Gardes," 


"L'Omelette  a  la  FoUembflche,"  "Le 
Serpent  a  plumes,"  "  L'Eccosais  de 
Chatou."  His  more  pretentious  operas 
include  "  Le  Eoi  I'a  dit,"  "  Jean  de 
Nivelle,"  and  "Kassya,"  completed 
after  the  composer's  death  by  E.  Guir, 
and  '•'  Le  Don  Juan  suisee  "  and  "  La 
princesse  Ravigotte,"  which  have  not 
been  performed.  B.  Feb.  21,  1836,  St. 
Germain  du  Val;  d.  Paris,  Jan.  16, 
1891. 

Delicatesse.     Fr.    Delicately. 

Delicatezza,  con.  It.  With  deli- 
cacy. 

Delicatissimo.  It.  Very  deli- 
cately. 

Delicato.     /*.    Delicately. 

Dellrio,  con.     It.    With  frenzy. 

Delle  Sedle  (Enrico)  wrote  books 
which  have  been  combined  in  Eng- 
lish trans,  as  "  Complete  Method  of 
Singing";  sang  bar.  in  opera;  taught 
in  Paris  Conservatoire.  B.  June  17, 
1826,  Leghorn. 

Delmotte  (Henri  Elorent)  wrote 
a  biography  of  Orlando  di  Lasso,  based 
on  Vinchant's  chronicle.  B.  1799, 
MonS;    d.  Mar.  9,  1836. 

Delyn.    Welsh  harp. 

Demancber.  Fr.  To  cross  hands 
in  playing  piano  or  shift  position  on 
■the  violin. 

Demande.  .  Fr.    Fugue  subject. 

Demantius  (Johann  Christoph) 
composed  church  music  and  songs  and 
wrote  on  music;  cantor  at  Zittau  and 
Freiburg.  B.  Dec.  15,  1567,  Reichen- 
berg;    d.   Freiburg,  April  20,   1643. 

Demeur  (Anne  Arsgne)  sang  sop. 
in  opera  with  great  success,  much  ad- 
mired by  Berlioz  for  whom  she  created 
Dido  in  "  Les  Troyens  a  Carthage." 
B.  Mar.  5,  1827,  Saujon,  Charente, 
maiden  name  Charton;  m.  Demeur 
the  flautist;    d.  Nov.  30,  1892,  Paris. 

Demi  Baton.    Fr.    Semibreve  rest. 

Demi  Cadence.    Fr.    Half  cadence. 

Demi  Jeu.  Fr.  Mezzo  forte  or 
half  power. 

Demi  mesure.     Fr.     Minim  rest. 

Demisemiquaver.  Thirty-second 
note. 

Demi  Soupir.    Fr.    Quaver  rest. 

Demi  Ton.     Fr.    Semitone. 

Demoiselle.    Fr.  An  organ  coupler. 

Demonic.       Anton     Rubinstein's 


D^MOPHON 


158 


DESKAB.ETS 


three-act  opera  to  book  by  Wiskowa- 
tov,  based  on  Lermontoff's  poetic  tale, 
was  first  performed  Jan.  25,  1875,  at 
St  Petersburg,  and  in  1881  at  Covent 
Garden.  The  prologue  portrays  the 
Demon  defying  the  Angel  of  Light, 
but  falling  in  love  with  Tamara, 
daughter  of  Prince  Gudal  and  be- 
trothed of  Prince  Sinodu  on  seeing 
her  with  her  maidens  by  the  water.  He 
first  causes  a  band  of  Tartars  to  mur- 
der Prince  Sinodu  and  then  undertakes 
to  comfort  Tamara,  who  weeps  over 
her  lover's  body.  Tamara  retires  to 
a  convent  where  she  is  followed  by  the 
Demon,  who  reveals  himself  to  her  in 
his  proper  person,  and  invites  her  to 
share  his  power.  Tamara  consents, 
provided  he  will  reconcile  himself  to 
his  Creator,  and  this  he  agrees  to,  but 
as  he  makes  his  vow  the  Angel  of  Light 
appears,  accompanied  by  the  ghost  of 
the  murdered  prince,  and  the  Demon 
sees  Tamara  carried  off  to  heaven  by 
a  band  of  angels.  The  principal  mu- 
sical numbers  are :  Act  I :  "He  Da- 
mon! wir  warten"  and  "Verhasste, 
verfliichte  Welt!  "  the  Demon;  "Tag- 
lich  eilen  wir  im  Fluge,"  chorus  of 
maidens ;  "  Ach !  liebe  MSdchen,"  Ta- 
mara; and  "Ach!  Tamara,"  the 
maidens ;  "  Stille,  Stille !  sehleichet 
naher!  "  the  Tartars;  Act  II:  "  Ru- 
fet  Heil  unserm  Fursten,"  and  "  Der 
Wein,  Der  Wein,"  chorus;  ballet 
music ;  "  Weh  uns !  ein  Trauerzug," 
chorus ;  "  Susses  Kind,  Du  weinst 
vergebens,"  the  Demon;  "  Auf  zum 
Kampfe,  Eache  uns,  beseele  uns," 
Gudal  and  chorus.  Act  III:  duo,  the 
Demon  and  Tamara  and  the  apotheo- 
sis music  with  angelic  chorus. 

Demophon.  Luigi  Cherubini's 
opera  to  book  by  Marmontel  was  pro- 
duced Dec.  5,  1788,  at  the  Academic 
Royale,  in  Paris. 

Benefve  (Jules)  composed  a  re- 
quiem, cantata  for  the  unveiling  of 
the  Orlando  di  Lasso  statue  in  Ghent, 
1858,  three  operas,  male  choruses; 
taught  and  played  'cello.  B.  1814, 
Chimay;    d.  Aug.  19,  1877. 

Dengremont      (lllaurice)      played 
violin  with  great  success,  but  killed 
himself  in  dissipation.    B.  Rio  Janeiro," 
Mar.  19,  1866;    d.  Paris,  1893. 


Denis  d'Or.  Keyboard  instru- 
ment with  pedals  invented  by  Pro- 
copius  Divis,   1762,  Moravia. 

Denkmaler  der  Tonkunst  was  the 
title  of  Dr.  Crysander's  reprint  of 
music  by  Palestrina,  Corelli,  and 
Couperin. 

Denkmaler  Deutscher  Tonkiinst 
were  music  reprints  undertaken  by  a 
committee  composed  of  Dr.  Crysander, 
Brahms,  Joachim,  Spitta,  Helmholtz, 
and  Herzogenberg,  1892,  with  govern- 
ment aid. 

Denza  (Luigi)  composed  the  extra- 
ordinarily popular  song  "  Funiculi 
Funicula"  which  Richard  Strauss 
used  in  his  Italian  suite,  and  more 
than  500  other  songs  to  English,  Ital- 
ian, and  French  texts ;  taught  singing 
at  Royal  Academy  of  Music,  London. 
B.  Castellmare  di  Stabia,  1846;  pupil 
of  Naples  Conservatory ;   add.  London. 

Depart,  Chant  du.  The  only 
French  national  song  composed  during 
the  Terror  was  written  by  Marie 
Joseph  Chfinier  to  celebrate  the  fourth 
anniversary  of  the  Fall  of  the  Bastile, 
while  in  hiding  in  Barrett's  home,  and 
was  set  by  Mehul. 

Deppe  (Ludwig)  conducted  musi- 
cal society  in  Hamburg;  taught  piano; 
imperial  chapelmaster  at  Berlin.  B. 
Nov.  7,  1828,  Alverdissen,  Lippe;  d. 
Sept.  5,  1890,  at  Bad  Pyrmont. 

Dering  or  Deering  (Bichard)  com- 
posed sacred  music  and  madrigals  and 
for  viol ;  organist  to  Queen  Henrietta 
Maria  and  musician  to  Charles  I  of 
Eng.;  studied  in  Italy;  may  have  been 
among  the  first  to  employ  figured  bass. 
Son  of  Henry  Dering  of  Liss;    d.  1630. 

Derivative.  Root  from  which  the 
harmonies  are  derived;    an  inversion. 

Des.     Ger.    D  flat. 

Descant.     DISCANT. 

Des  Dur.   Ger.  Key  of  D  flat  major. 

Deserteur.  P.  A.  Monsigny's  musi- 
cal play  in  three  acts  to  book  by 
Sedaine,  was  first  produced  Mar.  6, 
1769,  at  the  Theatre  des  Italiens, 
Paris. 

Desmarets  (Henri)  composed  sa- 
cred music  and  the  operas  "  Didon," 
1693;  "Circe,"  1694;  "Th6ag6ne  et 
Chariclee "  and  "  Les  Amours  de 
Momus,"  1695;  "Venus  et  Adonis"; 


DES  KOLIi 


159 


DETTX 


"Les  Fetes  Galantes";  fled  Paris  to 
escape  punishment  for  secret  marriage, 
became  chapelmaster  to  Philip  V;  ob- 
tained ratification  of  his  marriage 
under  patronage  of  the  Duke  of  Lor- 
raine, while  resident  at  Luneville, 
1722,  and  produced  "Renaud,  ou  la 
Suite  d'Armide"  in  Paris  that  year. 
B.  1662,  Paris;  d.  Sept.  7,  1741, 
Luneville. 

Des  Moll,  Qer.  Key  of  D  flat 
minor. 

Despres.  One  form  of  spelling  the 
name  of  JOSQUIN  de  Pres  or  di  Prato. 

Dessauer  (Josef)  composed  the 
song  "  Lockung  "  and  the  operas  "  Lid- 
wina,"  "  Ein  Besuch  in  St.  Cyr,"  "  Pa- 
quita,"  "  Domingo,"  and  chamber  mu- 
sic. B.  1798,  Prague;  d.  July  8,  1876, 
near  Vienna. 

Dessin.    Fr.    Plan  or  design. 

Sessoff  (Felix  Otto)  conducted 
opera  at  Vienna,  Carlsruhe,  and 
Frankfort;  composed  chamber  music. 
B.  Jan.  14,  1835,  Leipsio;  d.  Oct.  28, 
1891,  Frankfort. 

Dessus.  Fr.  Treble  or  upper  part 
of  a  score. 

Bestouches (Andre  Cardinal)  com- 
posed the  successful  opera  "  Iss6 "  at 
25,  "  Les  Elements,"  an  elaborate  bal- 
let in  which  Louis  XV  danced  and 
which  has  been  orchestrated  anew  by 
d'Indy;  the  cantatas  "Oenone"  and 
"  S6m616  " ;  originally  a  mousquetier, 
but  became  "  inspecteur  general "  of 
the  Acad€mie  royale  de  musique  and 
surintendant  of  music  to  the  king.  B. 
1672,  Paris;    d.  1749. 

Destra.  /*.  The  right;  Mano, 
hand. 

Destranges  (Louis  Augustin 
fitienne  Soullle)  wrote  "  Les  Inter- 
pr6tes  musicaux  du  Faust  de  Goethe  " 
and  other  books  of  a  critical  nature; 
edited  "  L'Ouest- Artiste,"  1890;  advo- 
cated Wagner's  music.  B.  Mar.  29, 
1863,  Nantes;    add.  Paris. 

Destro.    /*.    Sprightly. 

DStache.  Fr.  Detached;  staccato 
notes. 

Determinato.     It.    Resolutely. 

Detonation.    Fr.    False  intonation. 

Dgtonner.    Fr.    To  sing  out  of  tune. 

Dettingen  Te  Teum.  George  Fred- 
erick Handel's  work  in  celebration  of 


the  victory  of  Dettingen  contains  many 
excerpts  from  "  Urio,"  and  was  first 
performed  at  the  Chapel  Royal,  Nov. 
27,  1743,  though  begun  in  July  of  that 
year. 

Beus  Iffisereatur.  Psalm  bcvii  is 
considered  a  responsoiy  psalm  in  the 
Latin  ritual.  In  the  revision  of  the 
Anglican  Book  of  Common  Prayer, 
1552,  it  is  given  as  an  alternative  to 
the  Nunc  Dimittis. 

Deutsche  Elote.  Cter.  German 
flute. 

Deutscher  Bass.  Ger.  A  viol  mid- 
way in  size  between  a  doublebass  and 
a  'cello. 

Deuxieme  Fositlon.  Fr.  Second 
position  on  the  violin;  guitar's  second 
fret. 

Deux  Journees.  M.  Luigi  C.  Z.  S. 
Cherubini's  three-act  com€die  lyrique 
to  book  by  Bouilly  was  produced  Jan. 
16,  1800,  at  the  Theatre  Feydeau, 
Paris,  and  subsequently  given  in  Ger- 
man, English,  and  Itialian  versions. 
Michele,  from  whose  occupation  as 
water  carrier  the  English  version  takes 
its  name,  is  the  father  of  Antonio, 
who  is  about  to  marry  Angeline,  a 
peasant  girl  of  Genesse,  and  he  obtains 
passes  for  himself,  Antonio,  and  Mar- 
celline,  his  daughter,  in  order  that 
they  may  go  to  fetch  the  bride.  Count 
Armand,  to  whom  Michele  is  under 
obligation,  falls  into  disfavour  with 
Mazarin,  who  places  a  guard  at  the 
city  gates  in  order  to  prevent  his  es- 
cape. Michele  hides  the  Count  in  a 
water  barrel,  induces  Marcelline  to 
remain  at  home  and  thus  enable  the 
Count's  wife  Costanza  to  take  her 
place,  and  gets  the  fugitives  past  the 
gate.  Although  the  Count  is  obliged 
at  one  time  to  hide  in  a,  hollow  tree, 
the  party  reaches  the  open  country 
in  apparent  safety.  Costanza  claps 
her  hands  as  a  signal  to  her  husband 
that  they  have  escaped,  but  as  she 
does  so,  the  party  is  surrounded  by 
soldiers.  The  soldiers  seize  Costanza, 
and  the  Count  rushes  to  her  rescue. 
He  reveals  his  identity,  but  as  the  sol- 
diers are  about  to  take  him  back  to 
Paris,  Michele  brings  the  news  that 
Mazarin  has  restored  the  Count's  lib- 
erty and  estates.    The  principal  mu- 


DEVELOPMEUT 


160 


SIAMAU'TS 


Bioal  numbers  are:  Act  I:  "Da  casa 
il  princo  mio  signor,"  Antonio;  "  Deh 
so  m'ascolti,"  Michele ;  "  O  mio  libera- 
tor," Armand,  Costanza,  and  Michele; 
and  a  duo  for  Armand  and  Costanza; 
Act  11:  "Via!  cedete  ull'  evidenza," 
Costanza,  Antonio,  and  soldiers;  and 
a  trio  and  march  in  the  finale;  Act 
III:  "La  pastorella"  (wedding  cho- 
rus) which  merges  into  "Nulla  pieta 
de  omai"  (Soldiers'  chorus),  and  a 
brilliant  quartet  with  double  chorus 
as  the  finale. 

Development  is  the  elaboration  of 
a  theme  in  accordance  with  the  recog- 
nized rules  of  art. 

Devil's  Opera.  G.  A.  Macfarren's 
two-act  opera  to  words  by  F.  Macfar- 
ren  was  first  performed  Aug.  13,  1838, 
at  the  English  Opera  House,  London. 

Devin  du  Village.  Jean  Jacques 
Rousseau's  one-act  opera  to  his  own 
text  was  first  produced  at  Fontaine- 
bleu,  Oct.  18,  1752,  and  the  following 
year  at  the  Acad^mie  Royale.  In 
1766  it  was  translated  and  adapted 
for  English  performance  by  Dr.  Bur- 
ney  as  "  The  Cunning  Man."  "  Rous- 
seau's Dream,"  which  has  been  used 
as  a  hymn  tune,  is  part  of  the  di- 
vertissement of  this  work,  which,  de- 
spite its  composer's  tempestuous  career 
in  music,  was  so  popular  as  to  have 
reached  its  400th  performance  before 
it  was  shelved  in  1829. 

Devoto,  Devozlone,  con.  It.  De- 
votedly;   with  affection. 

Dextra.     L.    The  right. 

Dextrae  Tibiae.  L.  Pipes  held  in 
the  right  hand. 

Di.  It.  "By,  for,  with,  of"; 
Orado,  by  degrees;  Chiesa,  for  the 
church. 

Diabelli  (Antonio)  composed  the 
waltz  on  which  Beethoven  virrote  33 
variations  ( Op.  120 ) ;  "  Landmessen," 
still  sung  in  Austrian  churches;  the 
operetta  "  Adam  in  der  Klemme " ; 
taught  piano  and  guitar;  joined 
Peter  Cappi  as  music  publisher,  1818; 
founded  DIABELLI  &  CO.,  1824;  edu- 
cated for  the  priesthood,  but  deter- 
mined, on  secularization  of  Bavarian 
monasteries,  to  devote  himself  to  mu- 
sic, and  became  pupil  of  Haydn, 
Vienna,  1803.     B.  Mattsee  near  Salz- 


burg, Sept.  6,  1781;  d.  April  8,  1858, 
Vienna. 

Diabelli  &  Co.  published  music  in 
Vienna  from  1824  when  the  house 
was  founded  by  ANTONIO  DIA- 
BELLI, acquiring  the  publications  of 
ARATARIA  and  other  houses,  issuing 
works  of  Schubert,  Czerny,  and  other 
composers,  in  all  more  than  25,000 
publications  up  to  1880.  C.  A.  Spina 
took  charge  of  the  business,  1852,  F. 
Screiber  in  1872, '  in  whose  name  it 
was  continued  after  the  purchase  by 
A.  Cranz,  of  Hamburg,  1876. 

Diadeste.  Michael  William  Balfe's 
Italian  opera  buffa  to  words  by  Fitz- 
ball  was  first  performed  May  17,  1838, 
at  Drury  Lane,  London. 

Dialogo.    It.    Dialogue;    duet. 

Dialogue.     Fr.    Dialogue;    duet. 

Diamants  de  la  Couronne.  Daniel 
F.  E.  Auber's  three-act  opera  comique 
to  book  by  Scribe  was  first  produced 
at  the  Op6ra  Comique,  Paris,  Mar.  6, 
1841,  and  as  "The  Crown  Diamonds" 
in  London  the  following  year.  The 
scene  is  laid  in  Portugal,  1777.  Don 
Henrique,  who  is  making  a  journey 
for  the  twofold  purpose  of  attending 
the  coronation  of  his  queen  and  wed- 
ding Diana,  daughter  of  his  uncle. 
Count  de  Campo  Mayor,  minister  of 
police;  is  captured  in  the  mountains 
by  a  band  of  counterfeiters.  Catarina, 
who  is  the  leader  of  the  gang,  spares 
his  life  on  condition  that  he  shall  not 
reveal  what  he  has  seen  for  a  year. 
As  he  is  about  to  depart  they  are  sur- 
rounded by  troops  led  by  Don  Hen- 
rique's friend,  Don  Sebastian,  and  the 
coiners  and  Henrique  make  their  es- 
cape disguised  as  monks  while  Cata- 
rina and  her  lieutenant  Rebolledo 
disappear  through  a  subterranean  pas- 
sage, taking  with  them  a  casket  con- 
taining some  mysterious  jewels.  In 
the  next  act  Don  Henrique  reaches 
the  home  of  his  uncle,  only  to  find  that 
Diana  is  in  love  with  his  friend  Don 
Sebastian,  while  he  himself  is  sigh- 
ing for  Catarina.  Meantime  a  car- 
riage bearing  Catarina  and  Rebolledo 
breaks  down,  and  they  seek  shelter  in 
the  castle  of  the  minister  of  police. 
When  Diana  reads  an  account  of  a 
robbery  containing  a   description  of 


BIAKAITTS 


161 


SIATESSABON 


Catarina  and  Rebolledo,  the  latter  dis- 
appears, and  Don  Henrique  tells  Cata- 
rina of  her  danger,  confesses  his  love 
for  her,  and  urges  her  to  run  away 
with  him.  Catarina,  though  moved 
by  his  generosity,  declines,  but  gives 
him  Eer  ring  as  a  souvenir.  Just  then 
Count  Campo  Mayor  enters  and  an- 
nounces that  the  Crown  Diamonds 
have  been  stolen  and,  despite  the  ex- 
cit^nent  of  the  moment,  recognizes 
the  ring  Don  Henrique  is  wearing  as 
one  of  the  royal  jewels.  Diana  turns 
the  situation  to  her  own  advantage  by 
making  Henrique  promise  that  if  she 
will  assist  Ca^rina  to  escape  he  will 
refuse  to  marry  her.  In  the  last  act 
Diana,  Count  Campo  Mayor,  Don  Hen- 
rique, and  Don  Sebastian  assemble  in 
an  ante  chamber  at  the  royal  palace, 
where  Kebolledo  is  presently  announced 
as  Count  Fuentes.  It  develops  that 
the  crown  diamonds  have  been  actually 
pledged  for  the  national  debt,  and  that 
Count  Fuentes  has  been  employed  to 
procure  duplicates  to  be  used  on  state 
occasions  until  the  real  jewels  can  be 
redeemed.  The  scene  changes,  the 
Queen  comes  in,  expresses  her  pleasure 
at  the  way  in  which  Count  Fuentes 
has  performed  this  delicate  mission, 
and  makes  him  Minister  of  Secret 
Police.  Count  Campo  Mayor  is  then 
admitted,  and  he  announces  the  de- 
cision of  the  royal  council  that  her 
majesty  shall  marry  the  prince  of 
Spain.  The  Queen  declares  she  will 
marry  a  man  of  her  own  choice,  and 
when  the  Count  protests,  threatens  to 
confiscate  his  property  for  permitting 
the  crown  diamonds  to  be  stolen,  and 
orders  him  to  arrest  Diana  and  Don 
Henrique  for  harbouring  the  thieves. 
Diana  enters,  but  fails  to  recognize 
Catarina  in  the  Queen.  Not  so  with 
Don  Henrique.  He  knows  Catarina  at 
once,  is  amazed  to  find  her  in  the  royal 
palace,  and  is  planning  to  rescue  her 
by  force  when  the  Queen  orders  his 
arrest  for  high  treason.  Another 
change  of  scene  reveals  her  majesty 
holding  court.  Don  Henrique  comes 
in  to  plead  for  Catarina  to  find  at 
last  that  Catarina  and  the  Queen  are 
one  and  the  same,  and  to  be  overjoyed 
with  the  announcement  of  her  majesty 


that  she  will  wed  him  as  the  man  who 
loved  her  for  herself  alone.  The  prin- 
cipal musical  numbers  are:  Act  I: 
"  Roll  on,  roll  on,"  Henrique;  "  O  'er 
Mountain  steep,  through  Valley  Roam- 
ing," Rebolledo;  "The  young  Pe- 
drillo,"  tutti;  "Unto  the  Hermit  of 
the  Chapel,"  chorus  of  disguised 
monks;  Act  II:  "The  Brigand"  and 
"  In  the  Deep  Ravine  of  the  Forest," 
Don  Henrique ;  "  Oh,  Surprise  unex- 
pected! "  quintet;  "Love!  at  once  I 
break  thy  fetters,"  and  "  If  I  could 
but  Courage  feel,"  Catarina;  "Oh, 
whisper  what  thou  feelest!  "  Hen- 
rique ;  Act  III :  "  When  doubt  the 
tortured  frame  is  rending,"  Diana; 
"  Love,  dwell  with  me,"  the  Queen. 

Diana.  Fr.  Aubade  or  reveille  or 
"  huntsup." 

Diapason.  Gr.  An  octave  or  the 
compass  of  all  the  strings  of  the  lyre; 
the  foundation  stop  of  an  organ  or 
principal,  whether  open  or  stopped;  in 
French  a  tuning  fork  or  the  piteh 
registered  by  it.  In  French  diapason 
normal  or  French  pitch  a'  is  the  result 
of  435  double  vibrations  per  second  at 
a  temperature  of  59  degrees  F.  This 
standard  of  PITCH  is  modified  first 
by  equal  temperament  and  also  by  the 
fact  that  the  temperature  of  the  aver- 
age concert  room  is  higher  than  that 
given,  and  at  68  degrees  F.  in  equal 
temperament  a'  represents  439  double 
vibrations  per  second. 

Diapasou  cum  Diapente.  L.  A 
twelfth. 

Diapason,  cum  Diatessaron.  L. 
An  eleventh. 

Diapente.     Or.    A  fifth. 

Diapentissare.  Middle  L.  Discant 
at  the  interval  of  a  fifth. 

Diaphonia.  Chr.  Dissonance  as 
opposed  to  consonance;  obsolete  form 
of  DISCANT  or  two  voice  counter- 
point. 

Diarmid.  Hamish  McCunn's  four- 
act  grand  opera  to  book  by  the  Duke 
of  Argyll  (then  Marquis  of  Lome), 
based  on  Celtic  folklore,  was  produced 
Get.  23,  1897,  at  Covent  Garden,  Lon- 
don, by  the  Carl  Rosa  Opera  Company. 

Diaschisma.    Gr.    Half  a  LIMMA. 

Diastema.     Or.    An  interval. 

Diatessaron.    Or.    A  fourth. 


11 


DIATONIC 


162 


SIETBICH 


Diatonic.  Intervals,  progressions 
of  melody  or  chords  belonging  to  one 
key  and  unaltered  by  accidentals;  dia- 
tonic modulation  shifts  from  one  to 
a  closely  related  key;  diatonic  scales 
are  the  modem  major  and  minor 
scales;  diatonic  melody  is  constructed 
exclusively  of  the  notes  of  a  single 
scale;  hence  in  general  opposed  to 
chromatic.  Diatonic  with  the  ancient 
Greeks  was  one  of  the  three  genera  of 
music,  the  other  two  being  Enharmonic 
and  Chromatic. 

Diaulion.  Qr.  Air  played  on  the 
aulos  or  flute  between  parts  of  a  song. 

Diaulos.     Or.     Double  flute. 

Diazeuzis.  Qr.  The  separation  of 
two  tetrachords  by  a  tone;  the  tone 
itself. 

Dibdin  (Charles)  composed  light 
dramatic  entertainments  including 
"  The  Waterman  "  and  the  "  Quaker," 
"  The  Shepherd's  Artifice  "  for  Covent 
Garden,  "The  Padlock"  and  "The 
Recruiting  Sergeant "  for  Drury  Lane, 
but  retired  from  the  latter  house  after 
a  quarrel  with  Garrick;  was  composer 
to  Covent  Garden  for  a  time  at  $50 
per  week,  but  became  best  known 
through  "  The  Whim  of  the  Moment," 
in  which  he  was  sole  actor,  singer, 
composer,  and  author,  and  manager; 
and  in  a  similar  entertainment  called 
"  The  Oddities,"  in  the  course  of  which 
he  introduced  many  sea  songs  which 
acquired  popularity  in  the  British 
navy;  wrote  "A  History  ()i  the  Stage," 
novels,  and  his  own  "  Professional 
Life."  B.  Mar.  4,  1745;  d.  July  25, 
1814.  Two  sons,  Charles  and  Thomas, 
became  playwrights.  Henry  Edward 
compiled  "The  Standard  Psalm  Book," 
1857;  composed  psalm  tunes  and  for 
piano  and  organ;  played  violin  and 
harp.  B.  Sadler's  Wells,  Sept.  8, 
1813;  son  of  Charles  and  grandson 
of  CHARLES;  d.  May  6,  1866, 
Edinburgh. 

Dicetto.  It.  Composition  for  ten 
instruments. 

Dichord.  Two  stringed  instrument ; 
biehord  or  instrument  with  two  strings 
to  the  note. 

Dickons  (Mrs.  Poole)  sang  sop.  in 
London  opera  and  concert.  B.  1770, 
London;    d.  May  4,  1833. 


Di  Colpo.    /*.    Suddenly,  at  once. 

Dido  and  Aeneas.  Henry  Purcell's 
three-act  opera  to  book  by  Nahum 
Tate,  probably  composed  between  1688 
and  1690,  has  been  occasionally  given 
in  concert  form  and  in  student  per- 
formances, but  was  revived  Mar.  25, 
1901,  at  the  Coronet  Theatre,  London. 

Diemer  (Louis)  founded  the  "  So- 
eiSte  des  instruments  anciens  " ;  com- 
posed "  concertstuck,"  Op.  31;  con- 
certo for  piano  and  orchestra.  Op.  32; 
"  concertstuck  "  for  violin  and  orches- 
tra. Op.  33,  songs  and  chamber  music ; 
taught;  won  first  piano  prize  at  Paris 
Conservatoire  at  13.  B.  Feb.  14,  1843, 
Paris;    add.  Paris. 

Diesare.     It.    To  sharpen. 

Di6se.    Fr.    Sharp. 

Dieser.     Fr.    To  sharpen. 

Dies  Irae.  L.  "  Day  of  wrath." 
Splendid  Latin  hymn  written  and 
probably  composed  by  Thomas  de  Ce- 
lano,  friend  and  follower  of  St.  Francis 
of  Assisi,  is  a  sequence  in  Masses  for 
the  Dead  between  the  Epistle  and  the 
Gospel,  for  which  Cherubini,  Berlioz, 
and  Verdi  have  composed  especially 
fine  settings. 

Diesis.  Or.  Quartertones  in  an- 
cient Greek  music  and  the  last  sub- 
division of  intervals  in  the  Aristotel- 
ian system;  in  modern  terms  the  dif- 
ference between  a  major  or  diatonic 
semitone,  and  a  minor  or  chromatic 
semitone,  obtained  by  tuning  up  the 
same  tone  three  major  thirds  and  an 
octave,  the  resultant  ratios  of  vibra- 
tion being  125 :  128. 

Dietrich  (Albert  Hermann)  com- 
posed the  successful  three-act  opera 
"  Robin  Hood,"  Frankfort,  1879 ;  sym- 
phony in  D  minor,  concert  overture 
"  Normannenfahrt,"  "  Rheinmorgen," 
and  other  works  for  chorus  and  or- 
chestra; incidental  music  to  "  Cymbe- 
line,"  and  chamber  music;  pupil  of 
Schumann  and  friend  of  Brahms; 
wrote  "  Recollections  of  Brahms," 
1899,  with  J.  V.  Widmann;  court 
chapelmaster  at  Oldenburg  and  royal 
professor  at  Berlin.  B.  Golk  near 
Meissen,  Aug.  28,  1829;  settled  in 
Berlin,  1890. 

Dietrich  (Sixt)  composed  36  anti- 
phons  and  book   of  Magnificats.     B. 


DIETSCH  163 

Augsburg,   about    1490:     d.   Oct.    21, 
1548,  St.  Gall. 

Dietsch  (Pierre  Louis  Philippe) 
bought  Wagner's  "  Flying  Dutchman  " 
libretto  and  produced  his  setting  at 
the  Grand  Opera,  Paris,  Nov.  9,  1842 ; 
composed  church  music;  conducted 
Grand  Opera,  1860-63.  B.  Mar.  17, 
1808,  Dijon;  d.  Feb.  20,  1865,  Paris. 
_  Bieupart  (Charles)  composed  harp- 
sichord suites  which  may  have  sug- 
gested the  title  "  Suite  Anglaise  "  to 
Bach;_  played  and  taught  harpsichord 
and  violin;  adapted  Italian  opera  for 
Drury  Lane,  1707.  B.  France;  d.  Lon- 
don, 1740. 

DiSze.     Fr.    Sharp. 

Diezeugmeuon.  Chr.  Disjunct  or 
disjoined. 

Difficile.    It.    Difficult. 

Di  Gala.    It.    Merrily. 

Dlgitorium.  Dumb  instrument  for 
exercising  the  fingers  invented  by  M. 
Marks. 

Dignum  (Charles)  composed  songs 
and  glees,  sang  in  London  opera.  B. 
1765,  Rotherhithe,  Eng.;  d.  Mar.  29, 
1827,  London. 

/*.    By  conjunct  inter- 


DINORAH 

Indian  variety  of  cym- 


Di  Grade. 
vals. 

Dilettante. 

Diluendo. 
crescendo. 

Diluvium. 


It. 


Amateur. 
Diminishing; 


de- 


Interlude. 

Diminished  Intervals  are  those  a 
semitone  less  than  minor.  Thus  G 
and  D  sounded  together  make  a  per- 
fect fifth,  but  G  and  D  flat  a  dimin- 
ished fifth,  which  is  a  discord,  but  may 
be  modified  by  adding  a  major  sixth 
to  the  G.  The  diminished  fourth  is 
always  discordant.  The  chord  of  the 
diminished  seventh,  which  is  an  in- 
version of  the  chord  of  the  minor 
ninth,  is  valuable  as  afifording  ease 
in  modulation.  A  diminished  triad 
consists  of  two  thirds  on  the  aubtonic 
or  the  chord  formed  in  the  key  of  C 
by  B,  D,  and  F. 

DiminuS.    Fr.    Diminished. 

Diminuendo.  It.  Decreasing  in 
volume  of  tone;    decrescendo. 

Diminution.  Repetition  of  a  sub- 
ject or  theme  in  fugues  and  canons  in 
notes  of  smaller  duration. 

Si  nolto.    It.    Very  much. 


Din  Din. 

bals. 

Dinorah.  Giacomo  Meyerbeer's 
three-act  opera  to  book  by  Barbier  and 
Carre  was  first  performed  April  4, 
1859,  at  the  Op6ra  Comique,  Paris. 
The  scene  is  laid  in  the  Breton  village 
of  Ploermel.  HSel,  a  goatherd,  and 
Dinorah,  his  betrothed,  start  to  the 
chapel  to  be  married  on  the  day  ap- 
pointed in  the  village  for  a  pilgrimage 
in  honour  of  the  Virgin,  but  the  festivi- 
ties are  interrupted  by  a  storm,  and 
Dinorah's  home  is  destroyed  by  light- 
ning. Hoel  is  advised  by  the  Wizard 
Tonick  to  seek  the  treasure  of  the 
Korigans,  a  Breton  fairy  folk,  in  prep- 
aration for  which  he  must  spend  a 
year  in  solitude.  He  sets  forth  upon 
his  quest,  but  Dinorah,  believing  her- 
self deserted,  goes  mad,  and  wanders 
through  the  woods  with  her  goat, 
seeking  him.  After  an  overture  which 
introduces  a  chorus  sung  behind  the 
curtain,  the  opera  opens  with  the  re- 
turn of  HSel  a  year  later.  The  vil- 
lagers are  singing  as  Dinorah  enters, 
looking  for  her  goat.  Corentin,  the 
bagpiper,  has  returned  to  his  cottage, 
and  begins  to  sing  and  play  in  order 
to  drive  away  the  fairies  and  goblins, 
and  Dinorah,  attracted  by  the  music, 
enters,  and  insists  that  he  continue. 
Then  Hoel,  confident  that  he  has  dis- 
covered the  secret  of  the  Korigan's 
treasure,  and  believing  that  the  first 
to  touch  it  must  die,  comes  in  to  get 
Corentin  to  serve  as  his  victim.  As 
he  enters  Dinorah  disappears  through 
a  window,  and  a  moment  later  HSel 
sends  Corentin  out  for  wine,  meaning 
to  stiffen  his  courage  for  the  ordeal. 
Woodcutters  are  singing  a  brindisi  as 
the  curtain  rises  on  the  second  act, 
and  Dinorah  enters,  still  seeking  her 
lost  lover.  The  scene  shifts  to  the 
Val  Maudit  into  which  come  Hoel  and 
Corentin;  but  the  latter,  hearing  Di- 
norah singing  the  treasure  ballad, 
learns  that  whoever  first  touches  it 
will  die,  and  he  refuses  to  go  on.  An 
angry  debate  follows,  after  which 
Dinorah  and  her  goat  appear  and 
Hiiel  mistakes  her  for  a  spirit  sent 
to  deter  him  from  the  search.  Dinorah 
falls   into  a  mountain  torrent  while 


1>IPPEL 


164 


DISPERSED 


attempting  to  cross  on  a  tree  which 
bridges  a  chasm,  and  H3el  plunges  in 
to  her  rescue.  The  shock  and  Hijel'a 
singing  restore  Dinorah's  reason,  and 
on  learning  what  she  has  suffered, 
HSel  persuades  her  that  the  events  of 
the  year  have  been  a  dream.  Dinorah 
tries  to  recall  the  Pardon  of  Ploermel, 
which  is  taken  up  by  a  chorus  ap- 
proaching from  the  distance,  and  Hiiel 
and  Dinorah  resume  their  interrupted 
journey  toward  the  chapel.  At  the 
first  production  the  caste  was  as  fol- 
lows :  Dinorah,  Mme.  Miolan-Carvalho, 
sop.;  H6el,  Paure,  bar.;  Corentin, 
Sainte-Foy,  ten.  The  principal  mu- 
sical numbers  are:  Act  I:  "Si  carina, 
caprettina,"  Dinorah;  "  Sto  in  casa  al 
fine,"  Corentin ;  "  Se  per  predner," 
HSel ;  Act  II :  polka  mazourka  known 
as  "The  Shadow  Song,"  Dinorah; 
"  Chi  primo  al  tesor,"  Dinorah ;  "  Le 
crede  il  padre,"  Hoel ;  Act  III :  "  Sei 
vendicata  assai,"  HBel;  "Santa  Maria! 
nostra  donna,"  Dinorah  and  chorus. 

Dippel  (Andreas)  sang  ten.  in 
opera,  possessing  a  remarkably  exten- 
sive repertoire  in  both  German  and 
Italian,  so  that  he  was  often  called 
upon  to  substitute  for  other  leading 
artists  on  the  briefest  notice;  became 
associated  with  GATTI-CASAZZA  in 
the  artistic  management  of  the  Metro- 
politan Opera  House,  New  York,  1908, 
and  assuming  direction  of  German 
repertoire  at  that  house,  where  he  had 
been  a  favourite  singer  for  several 
seasons.  The  summer  of  1908  Mr. 
Dippel  toured  Europe,  engaging  new 
works  and  new  artists  and  scenic 
equipment  for  the  season  of  1908-9. 

Direct.  Sign  placed  at  the  end  of 
a  page  or  line  to  indicate  the  note  next 
to  be  played. 

Directeur.  Fr.  Director  or  man- 
ager. 

Direct  notion.  Progression  of 
parts  in  a  similar  direction. 

Diretta,  all.    It.    In  direct  motion. 

Direttore.  /*.  Director  or  man- 
ager. 

Dirge.  Funeral  music,  so  called 
from  the  antiphon  "  Dirige,  Domine 
Deus  meus." 

Diruta  (Agostino)  composed  church 
music;     Augustinian   monk;     chapel- 


master  at  Sant'  Agostino's,  Rome, 
1630^7;  relative  and  pupil  of  GI- 
ROIiAMO.  Girolamo  wrote  "II  Trans- 
ilvano,"  which  was  not  only  the  first 
work  to  treat  the  organ  as  a  distinct 
instrument  as  regards  technique,  but 
includes  descriptions  of  the  three  best 
instriunents  of  the  period  in  Italy, 
rules  of  counterpoint  and  of  trans- 
posing the  ecclesiastical  modes,  an  in- 
troduction to  singing  and  many  illus- 
trations; became  the  most  celebrated 
of  Italian  organists  an<I  played  and 
conducted  in  various  Italian  cathe- 
drals. B.  about  1564,  Perugia;,  d. 
1639. 

Dis.     Oer.    D  sharp. 

Discant  was  used  from  the  12th 
century  on  as  a  general  term  for  all 
forms  of  polyphony.  It  replaced  the 
still  earlier  diaphony  or  organmn  in 
which  a,  second  or  more  parts  pro- 
gressed with  the  principal  or  subject 
by  similar  motion,  and  by  permitting 
contrary  motion,  paved  the  way  for 
the  development  of  counterpoint.  Dis- 
cant was  soon  defined  by  a  set  of  rules, 
the  object  of  which  was  to  enable  a 
singer  to  improvise  a  part  to  a  sub- 
ject, but  improvization  or  Contrap- 
punto  alia  mente  must  soon  have  given 
way  to  viritten  discant.  Discant  was 
double,  triple,  or  quadruple  accord- 
ing to  the  number  of  parts  added. 
Discant  was  also  the  name  of  the 
part  added  to  the  tenor  melody  or 
cantus  firmus,  or  to  the  first  part, 
if  there  were  several.  The  Discant 
was  written  above  the  tenor  on  its 
own  clef. 

Discantgeige.    Qer.    Violin. 

Discantschliissel.  Qer.  The  so- 
prano or  discant  clef. 

Discord.  Any  chord  which  requires 
resolution. 

Discreto,  Discrezione,  con.  It, 
Prudently,  with  discretion. 

Disdiapason.     Or.    A  fifteenth. 

Disinvolto.    It.    Free,  unfettered. 

Disjunct.     Disjoined. 

Disjunct  Motion.  Succession  of 
skips. 

Dis  Iffoll.     Oer.    D  sharp  minor. 

Disperato.     It.     Despairingly. 

Disperazione.     It.    Despair. 

Dispersed  Harmony.      Chorda  in 


DISPOSITION 


165 


DIVISI 


which  the  notea  are  separated  by  wide 
intervals. 

Disposition.  Arrangements  of 
parts  of  a  score,  chord,  chorus,  or- 
chestra, or  of  the  mechanism  of  an 
organ. 

Di  Salto.    It.    By  jump  or  skip. 

Dissonance.  Combination  of  tones 
producing  BEATS;  chord  requiring 
resolution  whether  agreeable  to  the 
ear  or  not. 

Dissonare.  It.  To  sound  discord; 
to  jar. 

Distanza.  It.  Distance,  as  of  an 
interval. 

Distinto.     It.     Distinct. 

Dithyrambus.  Or.  Song  in  honour 
of  Bacchus  from  which  dramatic  form 
was  evolved;  choruses  of  early  Greek 
tragedies. 

Dito.     It.    Finger. 

Dito  Grosso.    It.    Thumb. 

Ditone.  Interval  of  two  major  tones. 

Ditonus.    L.    Ditone. 

Ditson  (Oliver)  founded  the  Bos- 
ton, Mass.,  music  publishing  house  of 
Oliver  Ditson  &  Co.  in  1857  with  John 
C.  Haynes  as  partner;  began  business 
career  at  12  in  the  shop  of  Samuel  H. 
Parker,  dealer  in  music  and  books; 
became  member  of  the  firm  in  1832 
which  became  Ditson  &  Parker;  con- 
tinued the  business  in  his  own  name  on 
Parker's  retirement,  1845 ;  established 
New  York  branch  in  charge  of  his 
son  Charles  H.,  1867;  Philadelphia 
branch,  1875,  in  charge  of  his  son 
J.  Edward;  began  the  sale  of  band 
and  orchestra  instruments  in  Boston 
as  John  C.  Haynes  &  Co.,  1860,  and 
extended  it  by  means  of  Chicago 
branch  known  as  Lyon  &  Healy.  B. 
Oct.  30,  1811,  Boston;  d.  Dec.  21, 
1888.  The  catalogue  of  the  allied 
houses  in  1908  numbered  more  than 
52,000  titles,  including  many  text- 
books. "The  Musician"  was  issued 
as  a  monthly  periodical  from  1896. 

Dittersdorf,  von  (Karl  Ditters) 
composed  the  operetta  "  Doctor  und 
Apotheker,"  which  is  still  performed 
in  Germany,  and  in  all  28  operas ;  53 
symphonies,  most  of  which  are  in  the 
style  of  his  friend  Haydn,  although 
that  based  on  Ovid's  "Metamorpho- 
ses "  is  one  of  the  earliest  attempts  at 


programme  music;  much  chamber  mu- 
sic, and  many  songs.  In  boyhood  he 
studied  violin  with  Konig  and  Zie- 
gler,  played  in  the  orchestra  at  St. 
Stephen's,  Vienna;  was  admitted  to 
Prince  von  Hildburghausen's  private 
band;  studied  with  Bonno  and  Trani, 
and  became  intimate  with  Gluck  and 
Haydn.  In  1761  he  toured  Italy  with 
Gluck,  and  in  1764  went  with  Gluck 
and  Guadagni  to  the  coronation  of 
Archduke  Joseph  as  King  of  the  Ro- 
mans at  Frankfort,  played  at  court, 
and  on  returning  to  Vienna  became 
chapelmaster  to  the  Bishop  of  Gross- 
wardein  at  Pressburg,  in  which  capac- 
ity his  first  oratorio  "  Isacco  figura 
del  Redentore"  was  composed  to  the 
Bishop's  Latin  version  of  Metastasio, 
followed  by  the  comic  opera  "  Amore 
in  Musica."  In  1769  he  joined  the 
Prince  Bishop  of  Breslau,  Count  von 
Schafgotsch,  in  his  retirement  at  Jo- 
hannisburg,  and  through  that  patron's 
influence  was  made  Knight  of  the 
Golden  Spur  and  ennobled  by  the 
Emperor.  His  pleasant  relations  with 
the  Prince  Bishop  continued  with 
slight  interruption  until  the  death  of 
that  dignitary,  1795,  after  which  he 
accepted  the  patronage  of  Count  von 
Stillfried,  residing  on  his  estates  in 
Bohemia  for  the  remainder  of  his  life. 
"Davide,"  "Ester,"  "Giobbe"  were 
the  titles  of  some  of  his  oratorios; 
"  II  viaggiatore  Americano,"  "  Betrug 
durch  Aberglauben,"  "  Die  Liebe  Nar- 
renhause,"  "  Hieronymous  Knicker," 
"Don  Quixotte,"  "Ugolino,"  "Hocus 
Pocus,"  and  "Die  lustigen  Weiber 
von  Windsor  "  were  all  popular  operas 
in  their  day.  B.  Vienna,  Nov.  2,  1739 ; 
d.  Oct.  24,  .  1799.  See  "  Autobiog- 
raphy," Bng.  trans,  by  A.  D.  Cole- 
ridge, London,  1896. 

Ditty.     Simple  little  song. 

Divertimento.  /*.  Instrumental 
composition  in  several  movements; 
potpourri. 

Divertissement.  Fr.  Short  ballet ; 
entr'act ;    divertimento. 

Divided  Stops.  Organ  stops  which 
draw  in  two  portions. 

Divisi.  It.  "Divided."  Directs 
where  instruments  which  have  been 
playing   in  unison   are   to   separate. 


DIVISIONS 


166 


DOHUAWYI,  VON 


their  reunion  being  indicated  by 
"  UNIS." 

Divisions.  Quick  consecutive  pas- 
sages of  ornamental  nature;  usually 
the  variation  of  a  simple  theme. 

Division  Violin  had  frets  on  the 
fingerboard. 

Divitis  (Antouius)  composed 
church  music  and  chansons  (published 
under  name  "  Le  Riche  " )  ;  singer  to 
Louis  II  of  France;    16th  century. 

Divotamente.     /*.     Devotedly. 

Divozione,  con.  It.  With  devo- 
tion. 

Dixie,  a  song  of  national  interest  in 
the  United  States,  although  "  Dixie's 
Land"  refers  to  the  Southern  States 
only,  was  first  made  known  in  1859  or 
1860  by  Bryant's  Minstrels,  and  was 
announced  as  a  "  walk  around  "  by  D. 
D.  Emmet.  In  1861  a  song  of  the  same 
name  and  to  the  same  tune,  words  by 
Albert  Pike,  went  the  rounds  of  the 
Confederate  army,  and  became  very 
popular.  The  title  may  have  been 
adopted  in  compliment  to  a  New  York 
slaveholding  family  named  Dixie. 

Dixieme.    Fr.    Tenth. 

Djamileh.  Georges  Bizet's  opgra 
comique  to  book  by  Louis  Gallet  was 
first  performed  May  22,  1872,  at  the 
Opfira  Comique,  Paris,  and  has  lately 
been  revived  with  success  in  Germany. 
Harun,  a  young  Turkish  voluptuary, 
has  avoided  serious  love  because  of  the 
example  of  his  father's  unhappy  mar- 
riage, and  is  unmoved  when  his  sec- 
retary Splendiano  tells  him  his  for- 
tune will  become  exhausted  in  another 
year,  and  equally  so  when  told  that 
the  lovely  Djamileh  having  reigned 
for  the  month,  ought,  in  accordance 
with  Harun's  way  of  life,  to  be  re- 
placed by  a  new  slave  girl.  Splendiano 
is  merely  directed  to  buy  another  slave 
girl,  and  seeing  his  master's  indiffer- 
ence to  Djamileh,  begs  to  retain  her 
for  himself,  to  which  Harun  agrees. 
But  Djamileh  really  loves  Harun,  and 
she  refuses  to  be  comforted  with  kind 
words  or  the  present  of  a  necklace,  and 
declines  her  freedom  when  it  is  offered 
her.  She  rejects  Splendiano,  and, 
learning  from  him  that  a  new  slave 
is  to  be  purchased,  plans  to  disguise 
herself  as  the  new  favourite,  who  turns 


out  to  be  a  young  Alm6e  who  dances 
marvellously.  Re-entering  Harun's 
presence  disguised  as  the  Alm^e, 
Djamileh's  shyness  astonishes  her 
master,  but  when  she  suddenly  unveils 
and  pleads  to  be  taken  back  as  his 
slave  rather  than  depart  with  fortune 
and  freedom,  Harun  at  last  realizes 
and  succumbs  to  the  power  of  true 
love.  The  music  is  of  a  deliciously 
oriental  type,  and  the  opening  chorus 
of  Nile  boatmen  and  the  lovely  music 
of  the  Almfie's  dance  have  won  instant 
favour  wherever  performed. 

Dlabacz  (Gottfried  Job.ann)  wrote 
on  music;  librarian  and  choirmaster 
of  the  Premonstratensian  convent  in 
Prague.  B.  July  17,  1758;  d.  Jan.  i, 
1820. 

D  ]y[oll.    fter.    Key  of  D  minor. 

Do  is  the  syllable  preferred  to  Ut 
in  Italy  and  England  for  sof-fa. 

Doctor  of  IVEusic.  Generally  an 
honorary  degree. 

Dodecachordon.  Twelve-stringed 
instrument,  which  gives  title  to  the 
celebrated  book  by  Glareanus,  the  as- 
sumed name  of  Heinrich  Loris,  pub- 
lished in  Basle,  1547.  This  book  de- 
finitely settled  a  dispute  regarding  the 
development  of  Ecclesiastical  Modea, 
established  the  fact  that  there  are  12 
Modes  only  available  for  practical 
purposes,  and  illustrated  the  charac- 
teristics of  each  by  a  series  of  89 
compositions  selected  from  the  best 
masters. 

Dodecuplet.  Group  of  12  notes  to 
be  played  in  the  time  of  eight.    , 

Dbhler  (Theodor)  composed  the 
opera  "  Tancreda,"  Florence,  1880 ; 
salon  music;  played  piano;  ennobled 
through  the  influence  of  his  patron  the 
Duke  of  Lucca,  he  married  a  Russian 
princess,  1846,  and  retired.  B.  Naples, 
April  20,  1814;    d.  Florence,  1856. 

Dohnanyi,  von  (Ernst)  composed 
"  Zrinyi "  an  overture  which  was 
performed  in  Budapest,  1897,  winning 
the  King's  prize;  symphony  in  D 
minor  serenade  for  violin  and  'cello, 
Vienna,  1900 ;  played  piano  in  concert 
in  the  principal  cities  of  Europe  and 
America;  pupil  of  his  father,  of  the 
Royal  Hungarian  Academy  of  Music, 
Budapest,    and    of    Eugen    d'Albert. 


DOIOT^ 


167 


BON  CABLOS 


B.  July  27,  1877,  Pressburg;  add. 
Budapest. 

Doigte.  Fr.  "  Fingering "  indi- 
cated by  signs  and  numerals  on  a  score. 

Dolcan.    DULCIANA. 

Dolce.  It.  Sweet;  8  ft.  soft-toned 
organ  stop. 

Dolcemente,  Dolcezza,  con.  It. 
With  sweetness  and  softness. 

Dolciano  or  Dolcino.  It.  DUL- 
CIANA. 

Dolcissimo.  It.  As  sweetly  as 
possible. 

Dolente,  Dolentemente;  Dolore, 
Suolo,  or  Doloros,  con.  It.  Sadly, 
plaintively. 

SolentiBsim.0.  It.  As  sadly  as 
possible. 

Doles  (Johann  Friedrich)  com- 
posed church  music,  wrote  "  Elemen- 
tary Instruction  in  Singing,"  cantor  at 
Freiberg  and  at  the  Thomasschule, 
Leipsic,  1756-89;  pupil  of  Johann 
Sebastian  Bach  and  friend  of  Mozart. 
B.  Steinbach,  Saxe-Meiningen,  April 
23,  1715;    d.  Leipsic,  Feb.  2,  1797. 

Dolzflote.  Ger.  German  flute  hav- 
ing seven  finger  holes  and  one  key. 

Domchor.     Ger.     Cathedral  choir. 

Dominant.  Fifth  degree  of  any 
scale;  reciting  note  of  a  Gregorian 
chant. 

Dominante.     Fr.    Dominant. 

Domino  Noir.  Daniel  F.  E. 
Auber's  three-act  opfira  comique  to 
book  by  Scribe  was  first  produced  in 
Paris,  Dec.  2,  1837.  The  scene  is  laid 
at  Madrid.  Horatio  di  Massarena  has 
fallen  in  love  with  a  mysterious  girl 
in  a  black  domino  whom  he  met  at  a 
masked  ball  given  by  the  Queen  of 
Spain,  and  meeting  her  again  a  year 
later  at  a  like  function,  confesses  his 
love,  but  is  rejected.  At  midnight  the 
girl  seeks  her  companion,  Brigitta, 
who  has  been  sent  away  by  Horatio, 
and  failing  to  find  her,  cries  that  she 
is  lost,  and  hurries  away.  In  the  next 
act  she  appears  in  the  house  of  Hora- 
tio's friend.  Count  Juliano,  disguised 
as  a  waiting  maid,  but  is  recognized 
by  Horatio.  She  slips  away  as  the 
Count's  dinner  develops  into  an  orgy, 
having,  obtained  some  keys  from  Gil- 
Perez,  porter  at  a  convent,  who  has 
abandoned  his  post  to  pay  court  to 


Claudia,  Count  Juliano's  housekeeper. 
The  mysterious  lady  is,  in  fact,  Angela, 
of  noble  birth,  destined  to  become  ab- 
bess of  a  convent,  although  she  has  not 
yet  taken  the  vows.  Her  influence  has 
already  helped  Horatio  in  his  diplo- 
matic career,  but  while  delighted  at 
meeting  him  at  the  ball,  she  should 
have  returned  to  the  convent  at  mid- 
night. However  she  does  return  un- 
noticed, and  in  the  last  act  is  shown 
in  the  robes  of  an  abbess,  the  office 
which  is  about  to  be  conferred  upon 
her.  Horatio  comes  to  the  convent  at 
this  opportune  moment,  seeking  release 
from  an  engagement  to  marry  Ursula, 
a  noble  damsel  who  is  likewise  an  in- 
mate of  the  convent.  He  recognizes 
the  girl  of  the  black  domino  in  the 
Lady  Abbess.  The  Lady  Abbess  has 
grown  to  love  him.  The  Queen  of 
Spain  solves  all  difficulties  by  nomi- 
nating Ursula  to  be  Abbess  and  per- 
mitting Angela  and  Horatio  to  marry. 

Dommer,  von  (Arrey)  wrote  criti- 
cism and  books  on  music.  B.  Feb.  9, 
1828,  Danzig;  secretary  to  Hamburg 
city  library,  1873-89. 

Donati  (Baldassare)  composed 
many  graceful  secular  songs  and 
church  music;  taught  singing  and 
counterpoint  at  the  Seminario  Gre- 
goriano  di  San  Marco;  was  succes- 
sively "  musico  e  cantor,"  assistant 
to  Adriano  Willaert,  and  chapelmaster 
at  St.  Mark's,  Venice.  B.  Venice, 
1548;    d.  1603. 

Donati  (Ignatio)  composed  church 
and  secular  music ;  chapelmaster  at  Pe- 
saro  and  Milan  Cathedrals.  B.  Casal- 
maggiore,  near  Cremona,  1612 ;  d.  1638. 

Don  Carlos.  Sir  Michael  da  Costa's 
opera  to  book  by  Tarantini  was  pro- 
duced June  20,  1844,  at  Her  Majesty's 
Theatre,  London.  Giuseppe  Verdi's 
five-act  grand  opera  to  book  by  Mery 
and  Du  Locle  was  first  performed 
Mar.  11,  1867,  at  the  Grand  Opera, 
Paris.  The  story  deals  with  the  pas- 
sion of  Don  Carlos,  son  of  King  Philip 
of  Spain  and  grandson  of  the  Emperor 
Charles  V  for  his  stepmother,  Eliza- 
beth of  Valois.  The  King's  jealousy 
is  aroused,  despite  the  innocence  of  his 
queen,  and  in  the  last  act  a  meeting 
between  the  Queen  and  Don  Carlos  in 


DON  GIOVAITITI 


168 


DON  GIOVANNI 


the  convent  of  St.  Just  is  surprised 
by  Philip,  who  then  turns  Carlos  over 
to  the  Grand  Inquisitor,  who  had  pre- 
viously demanded  his  life,  and  had 
already  brought  about  the  destruction 
of  Posa,  the  best  friend  of  Carlos. 

Don  Oiovaani  or  Don  Juan.     W. 
A.   Mozart's    two-act   opera   bufl'a  to 
book  by  Da  Ponte  was  first  performed 
Oct.  29,   1787,  at  Prague.     Although 
hurriedly  composed,  this  opera  is  one 
of  Mozart's  best.    Its  full  title  is  "  II 
Dissoluto  Punito;    ossia  il  Don  Gio- 
vanni," and  the  material  is  taken  from 
Tirso  de  Molina's  tale,  "  El  combidado 
de  piedra."     The  scene  is  laid  in  Se- 
ville,  and  the  first  act  represents   a 
square  before  the  palace  of  the  Com- 
mendatore.    Don  Giovanni,  a  dissolute 
noble,  has  gained  access  to  the  apart- 
ment of  the  Commendatore's  daughter, 
Donna   Anna,    at   night.     When   the 
Commendatore,  alarmed  by  her   out- 
cries,  rushes  to  her  assistance,   Don 
Giovanni  stabs  him  and  escapes,  join- 
ing his  servant  Leporello,  who  awaits 
him  in  the  square.     Donna  Anna  and 
her  fiance  Don  Ottavio  swear  to  avenge 
the    Commendatore's    death.      While 
master  and  servant  are  discussing  a 
new    love   affair.    Donna    Elvira,    an 
earlier  victim,  comes  along,  bewailing 
her  fate,  and  Don  Giovanni  attempts 
to  flirt  with  her,  not  having  recog- 
nized her,  only  to  be  met  with  bitter 
reproaches.     Don  Giovanni  runs  off, 
and  Leporello  shocks  Elvira  with  a 
catalogue  of  his  master's  conquests  in 
various   lands.     Meantime   Don   Gio- 
vanni has  discovered  a  pretty  peasant 
girl,  Zerlina,  who  is  at  the  point  of 
marrying  Masetto,   a  young   farmer. 
The  bridegroom  to  be  is  dragged  away 
by  Leporello,  and  Don  Giovanni  offers 
himself  to  Zerlina  as  a  substitute,  but 
she  is  rescued  by  the  timely  appear- 
ance of  Donna  Elvira,  who  leads  her 
away  to  a   place  of  safety.     Donna 
Anna  and  Don  Ottavio  now  enter,  and 
as  Don  Giovanni  is  making  love  to 
Donna  Anna  and  inquiring  as  to  the 
cause  of  her  mourning.  Donna  Elvira 
returns  and  denounces  him  as  the  Com- 
mendatore's murderer.    Don  Giovanni 
replies  that  the  woman  is  crazy,  and 
deceives  Donna  Anna  for  the  moment. 


Later,  she  is  convinced  that  Elvira  is 
right,  and  orders  her  betrothed  to  kill 
Don  Giovanni.  Meeting  his  servant, 
who  tells  him  that  Zerlina  has  re- 
turned to  Masetto,  Don  Giovanni  re- 
joins the  peasants,  and  invites  them 
to  a  feast.  The  fifth  scene  shows  the 
banquet  hall.  Master  and  servant  are 
attentive  to  their  guests.  Having  plied 
them  well  with  wine,  Don  Giovanni 
tries  to  drag  Zerlina  away,  but  is 
prevented  by  the  timely  entrance  of 
three  masks,  Ottavio,  Anna,  and  El- 
vira, who  have  come  to  learn  just  what 
sort  of  man  Giovanni  is.  Giovanni 
tries  to  throw  the  blame  on  Leporello, 
but  his  visitors  remove  their  masks 
and  denounce  him  for  his  crimes. 
The  first  scene  of  the  second  act  rep- 
resents the  attempt  of  Don  Giovanni 
to  abduct  Zerlina  from  Donna  Elvira's 
house.  Masetto  and  a  party  of  friends 
come  in  time  to  effect  a  rescue,  but 
are  thwarted  in  their  attempt  to 
avenge  themselves  on  Don  Giovanni, 
who  has  changed  costumes  with  Lepo- 
rello, in  order  to  elude  Elvira.  Master 
and  servant  meet  again  in  front  of  the 
Commendatore's  palace,  and  as  Don 
Giovanni  tells  of  meeting  one  of  Le- 
porello's  inamoratas,  the  statue  of  the 
Commendatore  speaks  wamingly.  Don 
Giovanni  only  laughs  and  invites  the 
statue  to  dine  with  him  the  following 
evening,  an  invitation  which  the  statue 
accepts.  Another  scene  represents 
Donna  Anna  clamouring  for  vengeance 
while  Ottavio  is  pleading  for  love,  and 
then  the  action  shifts  again  to  the 
banquet  hall  in  Don  Giovanni's  palace. 
The  master  is  at  dinner,  served  by 
Leporello.  Elvira  comes  to  implore 
Don  Giovanni  to  repent  before  it  is 
too  late,  but  is  only  laughed  at.  She 
screams  with  terror  on  departing,  and 
a  knocking  is  heard,  at  which  the  mu- 
sicians run  away  and  Leporello  hides 
under  the  table.  Don  Giovanni  opens 
the  door,  and  finds  the  Commendatore's 
statue  has  come  to  the  feast.  He 
orders  Leporello  to  lay  another  cover, 
but  the  statue  replies  that  it  does 
not  eat  the  food  of  mortals,  and  in- 
vites Giovanni  to  sup  with  it.  Despite 
the  pleading  of  Leporello,  Don  Gio- 
vanni accepts,  then  the  statue  takes 


^ONI  169  DONNA  DEL  LAGO 

^Sl!f  1,*^  ^^'^'  ^°?  for  the  last  time  last  named  work  making  a  great  suo- 
ilt  Z^r  ^^/^P^"^*^-  On  his  refusal  cess  in  Rome,  1822,  when  the  composer 
the  statue  disappears  and  demons  was  carried  in  triumph,  crowned  at 
carry  Don  Giovanni  to  the  infernal  re-  the  capitol,  and  exempted  from  further 
gions.  The  origmal  caste  was:  Donna  military  duty.  "Anna  Bolena,"  1830, 
Anna,  Teresa  Sapontti,  sop.;  Donna  Milan,  was  the  first  of  Donizetti's 
Elvira,  Micelh  sop.;  Zerlina,  Bondini.  operas  to  attract  attention  outside 
sop.;  Don  Ottavio,  Baglioni,  ten.;  Italy,  and  then  came  "  L'Elisir 
Don  Giovanni,  Luigi  Bassi,  bar.;  II  d'Amore"  and  "Lucia  di  Lammer- 
Commendatore,  and  Maaetto,  Lolli.  moor,"  the  last,  written  for  Naples, 
bass;  Leporello,  Felice  Ponziani,  bass.  1835,  gaining  him  an  appointment  as 
The  principal  musical  numbers  are:  teacher  of  counterpoint  in  the  Royal 
Act  I:  " Notte  e  giorno  faticar,"  Le-  College  of  Music  of  Naples.  The 
porello;  "Ah!  chi  mi  dice  mai,"  El-  rapidity  which  characterized  Doni- 
vira;  "  Madamia  il  catalogo,"  Lepo-  zetti's  composition  is  shown  in  the 
rello;  "La,  ci  darem  la  mano,"  Zer-  fact  that  "II  Campanello  di  Notte" 
lina;  "Mi  tradi,"  Elvira;  "Or  sai,  based  on  a  vaudeville  he  had  seen  in 
chi  I'onore,"  Anna;  "Fin  ch'han  dal  Paris,  was  both  written  and  composed 
vino,"  Don  Giovanni;  "  Batti,  batti,"  in  nine  days.  On  the  refusal  of  the 
Zerlina;  the  Masked  Trio,  Ottavio,  Neapolitan  censor  to  permit  the  per- 
Anna,  and  Elvira;  Act  II:  "Eh,  via,  formance  of  his  "  Poliuto,"  1837,  Doni- 
bufifone,"  Giovanni  and  Leporello;  zetti  removed  to  Paris,  where  he 
"Deh  vieni  alia  finestra,"  Don  Gio-  brought  out  a  number  of  operas, 
vanni;  "  Vedrai,  carino,"  Zerlina;  Victor  Hugo  forbade  the  representa- 
"Sola,  sola,  in  bujo  loco,"  sextet;  "Ah  tions  of  " Lucrezia  Borgia,"  which  had 
pietft  Signori  miei,"  Leporello ;  "  II  mio  been  based  on  his  play,  so  the  scene 
tesoro,"  Ottavio;  "Non  mi  dir,"  Anna,  was  changed  from  Italy  to  Turkey, 
Doni  (Giovanni  Battista)  wrote  and  the  opera  was  presented  as  "  La 
"  Compendio  del  trattato  de'  generi  e  Rinegata."  In  1840,  "  Poliuto,"  "  La 
de'  modi  della  musica,"  a  valuable  Fille  du  Regiment,"  and  "Favorita" 
book  on  Ancient  Greek  music,  pub-  were  all  performed,  greatly  extending 
lished  1635,  Rome;  reconstructed  a  the  composer's  fame.  A  tour  in  which 
double  lyre,  which  he  called  "  Lyra  he  visited  Rome,  Milan,  and  Vienna 
Barberina,"  or  "Amphichord";  taught  followed,  and  while  in  the  latter  city 
in  Florence  University.  B.  1593,  Flor-  he  produced  "  Linda  di  Chamouni," 
ence;    d.  1647.  and  was  made  chapelmaster  and  court 

Donizetti  (Gaetano)  composed  composer  to  the  Emperor.  "  Don  Pas- 
"  DON  PASQUALE,"  "  La  FILLE  quale  "  and  the  funereal  "  Dom  Sebas- 
DU  REGIMENT,"  "  LUCIA  DI  LAM-  tien  "  were  produced  on  his  return  to 
MERMOOR,"  "LUCREZIA  BOR-  Paris,  1843.  In  1844  " Catarina  Cor- 
GIA,"  "La  FAVORITA,"  "  ELISIR  naro"  was  produced  at  Naples.  A 
D'AMORE,"  "LINDA  DA  CHA-  paralytic  stroke  then  ended  the  com- 
MOUNI,"  which  have  retained  their  poser's  career,  although  he  lingered 
place  in  modern  repertoire,  and  in  four  years  more.  Among  his  other 
all  66  operas.  Son  of  a  weaver,  who  operas  are :  "  Parisina,"  "  Torquato 
was  ambitious  that  he  should  become  Tasso,"  "  Marino  Faliero,"  "  Maria 
a  teacher,  Donizetti,  who  had  previ-  Padilla,"  and  "Rita "  and  "  II  Duca 
ously  studied  music  in  the  Naples  Con-  d'Alba,"  which  were  performed  after 
servatory  and  the  Liceo  Filarmonico  his  death.  A  "  Miserere "  and  "  Ave 
at  Bologna,  enlisted  in  the  army  to  Maria,"  composed  for  the  imperial 
avoid  obedience  to  his  father's  wishes,  chapel  at  Vienna,  6  masses,  12  string 
and  while  stationed  at  Venice,  1818,  quartets,  a  requiem,  and  some  songs 
produced  his  first  opera,  "  Enrico  di  should  also  be  noted.  B.  Bergamo, 
Borgogna,"  which  was  followed  by  "  II  Nov.  25,  1797;  d.  April  8,  1848. 
Falegname  di  Livonia,"  "  Nozze  in  Donna  del  Lago.  Gioacchini  Ros- 
yilla,"  and  "  Zoraide  di  Granata,"  the   sini's  two-act  opera,  to  book  by  Tot- 


DONNA,  PBimA 


170 


DOPPIiEB 


tola,  based  on  Scott's  "  Lady  of  the 
Lake,"  was  first  performed  Oct.  4, 
1819,  at  the  San  Carlos  Opera,  Naples. 

Donna,  Prima.    It.    "  First  lady." 
Leading  female  singer  in  opera. 

Don  Pasquale.  Gaetano  Doni- 
zetti's three-act  opera  buff  a  was  first 
produced  Jan.  4,  1843,  at  the  Theatre 
des  Italiens,  Paris.  Don  Pasquale,  an 
irritable  old  gentleman,  whose  nephew 
Ernesto  declines  to  marry  to  please 
him,  resolves  to  punish  his  prospec- 
tive heir  by  taking  a  bride  himself. 
His  old  friend  Dr.  Malatesta,  who  is 
likewise  the  friend  of  Ernesto  and  the 
confidant  of  his  love  affairs,  is  called 
upon  for  advice,  and  promptly  ap- 
proves Don  Pasquale's  plan,  picturing 
an  imaginary  sister  as  an  ideal  char- 
acter who  will  just  suit  his  old  friend. 
Don  Pasquale  is  delighted,  and  Dr. 
Malatesta  at  once  goes  to  Norina, 
Ernesto's  inamorata,  with  whom  he 
compounds  a  plot  that  shall  unite  her 
to  her  lover.  The  second  act  reveals 
Don  Pasquale  in  gala  costume,  wait- 
ing for  his  bride,  and  when  Malatesta 
brings  in  Norina,  he  is  delighted  with 
that  young  person's  excessive  modesty 
and  loveliness.  Yielding  to  his  ardent 
persuasion,  she  signs  a  marriage  eon- 
tract,  then  instantly  displays  such 
shrewishness  as  would  have  shamed 
Katherine  before  Petrucio  tamed  her. 
Ernesto  is  astonished  at  the  scene, 
but  is  warned  by  Malatesta  to  be 
silent.  Norina  calls  in  the  servants, 
gives  extravagant  orders,  which  Don 
Pasquale  vainly  countermands.  He  is 
told  that  she  is  the  mistress  of  the 
house  and  will  do  as  she  pleases.  In 
the  third  act  Don  Pasquale's  house  is 
filled  with  dressmakers  and  milliners 
to  the  old  man's  dismay,  but  they  are 
finally  dismissed,  as  Norina  intends 
going  to  the  theatre  with  Ernesto. 
Pasquale  forbids  her  to  leave  the 
house,  whereupon  she  promptly  boxes 
his  ears  and  departs,  dropping  a  note 
as  she  does  so,  which  excites  Pasquale's 
jealousy.  Malatesta  comes  in  and 
consoles  his  old  friend,  and  in  the  end 
Pasquale  is  delighted  to  learn  that 
his  marriage  was  a  sham  and  to  trans- 
fer his  pseudo  bride  to  Ernesto.  The 
original  caste  was:  Norina, Grisi,  sop.; 


Ernesto,  Mario,  ten.;  Dr.  Malatesta, 
Tambourini,  bass;  Don  Pasquale,  La- 
blanche,  bass.  The  principal  musical 
numbers  include  two  duets  and  a 
quartet,  often  heard  in  concert,  and 
the  serenade  "  Com'  e  gentil,"  which 
greatly  enhanced  Mario's  reputation 
and  is  still  the  delight  of  tenors  the 
world  over. 

Don  Quixote  has  afforded  subject 
matter  for  29  operas,  the  first  by 
F6rtsch  at  Hamburg,  1690,  and  the 
last  by  Frederic  Clay,  London,  1875. 
Caldara,  Padre  Martini,  Salieri,  Paesi- 
ello,  all  composed  operas  of  this  title. 
Henry  Purcell  and  John  Eccles  com- 
posed songs  for  the  dramatic  versions 
of  Thomas  D'Urfey,  1694  and  1696 
(three  parts),  and  G.  A.  Macfarren's 
version,  to  book  by  his  father,  was  pro- 
duced Feb.  3, 1846,  at  Drury  Lane,  Lon- 
don. Richard  Strauss  has  composed 
"  fantastische  variationem "  to  the 
same  title  produced  in  England,  Amer- 
ica, and  elsewhere  under  his  own  baton. 
Dont  (Jacob)  composed  "  Studies 
for  Violin";  played  and  taught  that 
instrument  at  Vienna  Conservatory. 
B.  Mar.  2,  1815,  Vienna;  d.  Nov.  17, 
1888. 

Donzelli  (Domenico)  sang  ten.  in 
opera;    composed  vocal  exercises.     B. 
1790,    Bergamo;    d.    Mar.    31,    1873, 
Bologna. 
Dopo.    It.    After. 
Doppelbee.     Oer.    Double  flat. 
Doppelflote.     Ger.     Organ  stop  of 
wooden  pipes  with  double  mouths,  and 
of  8  ft.  pitch. 
Doppelfuge.    Ger.    Double  fugue. 
Doppelgeige.     Ger.    Viol  d'amore. 
DoppelgrifEe.    Ger.    Doublestop  on 
viol  instruments. 
Doppelkreuz.     Ger.    Double  sharp. 
Doppelschlag.     Ger.     Double  beat 
or  grace  note. 

Doppio.  It.  Double;  Pedale,  with 
pedal  in  octaves;  Movimento,  at 
double  the  pace. 

Doppler  (Albert  Franz)  composed 
the  operas  "  Benjowski,"  "  Ilka," 
"  Afanasia,"  "  Wanda,"  "  Salvator 
Rosa,"  "  Die  beiden  Husaren,"  "  Erze- 
beth,"  the  comic  ballet  "Margot"; 
conducted  at  Vienna  court  opera  and 
taught  flute  in  Vienna  Conservatory. 


BdBEFEL 


171 


DOUBLE  BASSOON 


B.  Lemberg,  Oct.  16,  1821;  d.  July 
27,  1883.  Karl  composed  "  The  Gren- 
adiers' Camp  "  and  "  The  Son  of  the 
Desert,"  operas  performed  at  the  Na- 
tional Theatre,  Pesth,  of  which  he  was 
conductor;  ballets  and  flute  music; 
played  flute;  court  chapelmaster  at 
Stuttgart.  B.  Lemberg,  1826 ;  brother 
of  ALBERT  FRANZ.  Arpad  com- 
posed the  opera  "  Viel  Larm  um 
Nichts,"  feste  overture,  suite  in  B 
flat,  scherzo,  theme,  and  variations  for 
full  orchestra;  taught  piano  in  New 
York,  1880-83;  chorusmaster  Court 
Theatre,  Stuttgart.  B.  June  5,  1857, 
Pesth;   son  of  KARL;   add.  Stuttgart. 

DorfEel  (Dr.  Alfred)  wrote  history 
of  the  Gewandhaus  concerts  from  1781 
to  1881,  criticism  for  the  "  Neue 
Zeitschrift  fur  Musik " ;  edited  com- 
positions for  Breitkopf  &  Hartel  and 
the  Bach  Gesellschaft.  B.  Jan.  24, 1821, 
Waldenburg,  Saxony;  add.  Leipsic. 

Dorian.  IlCode.  First  of  the  "  au- 
thentic" church  MODES. 

Dorien.     Fr.    Dorian. 

Dom  (Heinrich  Ludwig  Egmont) 
composed  "Die  Rolandsknappen,"  Ber- 
lin, 1826,  and  in  all  ten  operas;  con- 
ducted Berlin  royal  opera;  wrote 
criticism  and  opposed  Wagnerian 
school;  taught  counterpoint  to  Schu- 
mann. B.  Nov.  14,  1804,  Konigsberg, 
Prussia;    d.  Berlin,  Jan.  10,  1892. 

Dorner  (Armiu  W.)  wrote  "  Tech- 
nical Exercises  " ;  played  and  taught 
piano  at  Cincinnati  College  of  Music; 
studied  in  Berlin,  Stuttgart,  and 
Paris.  B.  June  22,  1852,  Marietta, 
Ohio;    add.  Cincinnati. 

Dorset  Garden.  Theatre  was  opened 
in  London,  Nov.  19,  1671,  and  was  the 
scene  of  many  musical  productions, 
including  the  operas  of  Purcell,  until 
demolished,  1706. 

Dot  added  to  a  rest  or  note  increases 
its  length  by  one  half;  when  doubled, 
by  three  fourth;  when  placed  over  a 
note,  indicates  that  it  is  to  be  per- 
formed staccato;  when  placed  under 
a  bIut  in  violin  music,  indicates  SPIO- 
CATO;  when  two  or  four  are  placed 
on  either  side  of  two  double  bars  in 
the  spaces  of  the  stave  they  indicate 
repeat;  Dot  System  was  a  variety  of 
TABLATURB  for  wind  instruments; 


in  ancient  Measured  Music  four  dots 
were  employed,  known  as  Point  of 
Perfection,  Point  of  Alteration,  Point 
of  Division,  and  Point  of  Addition. 

Dotzauer  (Justus  Jobiami  Fried- 
rich)  composed  the  opera  "  Graziosa," 
1841;  a  symphony,  overtures,  masses, 
and  chamber  music;  played,  taught, 
and  composed  for  'cello.  B.  June  20, 
1783,  Hildburghausen;  d.  Dresden, 
Mar.  6,  1860. 

Double.    Fr.    Turn. 

Double.  Variations  in  harpsichord 
music;  repetition  of  words  in  sing- 
ing; understudy;  used  in  combina- 
tion to  indicate  the  octave  below. 

Double  Action.  HARP  mechanism 
for  producing  chromatic  tones. 

Double  Backfall.  Turn  or  orna- 
ment. 

Double  Bar  indicates  the  end  of  a 
piece;  the  end  of  a  movement;  the 
end  of  a  portion  to  be  repeated;  a 
change  of  key;  a  change  of  time;  the 
end  of  a  line  of  words  set  to  music. 

Double  Bass  is  the  largest  instru- 
ment of  the  viol  family,  with  a  com- 
pass from  E  or  G'  to  a.  When  there 
are  three  strings  they  are  attuned  to 
G',  D,  A  by  the  French  and  Italian 
and  to  A',  D,  G  by  the  English  sys- 
tem. Where  there  are  four  strings 
they  are  attuned  E',  A',  D',  G'.  The 
earliest  specimens  of  the  instrument 
are  those  of  Gasparo  da  Salo,  1542- 
1609,  and  its  introduction  in  the  or- 
chestra is  accredited  to  Michael 
Monteclare  about  1696.  The  music 
sounds  an  octave  lower  than  written, 
and  its  English  name  may  have  origi- 
nated in  the  fact  that  it  was  usually 
employed  to  double  the  bass  of  the 
'cello.  While  of  the  utmost  impor- 
tance in  modern  orchestra,  the  double 
bass  is  too  unwieldy  for  solo  pur- 
poses, and  the  instrument  played  by 
Bottesini  and  other  virtuosi  was  really 
a  smaller  one,  properly  called  Basso 
di  Camera. 

Double  Bassoon  doubles  the  bass 
of  the  bassoon  as  the  doublebass  does 
that  of  the  'cello,  with  a  compass 
from  B"  flat  to  F.  The  music  sounds 
an  octave  lower  than  written.  Nu- 
merous attempts  have  been  made  to 
improve   the   bassoon,   which   is   un- 


DOUBLE  BEAT                   172  DBAGHI 

wieldy  in  size  and  difficult  to  blow  Double    Stopping.      Simultaneous 

and  finger.     A  demi-contra-fagotto  in  stopping  of  two  notes  on  instruments 

F  is  intermediate  in  pitch  between  the  of  the  viol  family, 

bassoon   and   double   bassoon,   and   a  Double  Tongueing.     Peculiar  ar- 

double  bassoon  in  E  flat  is  made  of  tieuJation   employed    to    obtain    fast 

brass  for  use  in  military  bands.  staccato  passages  by  flute  and  cornet 

Double  Beat.     A  BEAT  -which  is  players;    reed  organ  stops  having  two 

repeated.                           '  tongues  are  called  Double  Tongued. 

Double  Bourdon.     Organ  stop  of  Double  Travale.    Trill  executed  by 

32  ft.  pitch  consisting  of  stopped,  wood  drawing    a    wetted    thumb    across    a 

pipes.  tambourine. 

Double  Chant  used  in  the  Anglican  Double  Trumpet.    Reed  organ  stop 

Church   equals   two   single   CHANTS  an  octave  below  the  8  ft.  trumpet, 

in  length.  Doublette.     Fr.     Compound  organ 

Double   Chorus.     Chorus  for  two  stop  consisting  of  two  ranks,  generally 

choirs.  a  twelfth  and  fifteenth. 

Double    Concerto    introduces    two  Doueement.     Fr.     Softly,  sweetly, 

solo  instruments.  Doux.     Fr.    Soft,  sweet. 

Double    Counterpoint    employs    a  Douzieme.    Fr.    Twelfth, 

second   melody,    which   may   be   used  Dowland    (John)    composed   three 

either    above   or   below   the    original  books  of  airs  and  much  music  for  lute  j 

melody  or  subject.  played    that    instrument    with    great 

Double  Croch.     Fr.     Semiquaver,  success  at  various  courts;    lutenist  to 

Double  Demisemiquaver.     Sixty-  Christian  IV  of  Denmark,  1598,  and 

fourth  note.  to  the  English  court,  1612.     B.  1563; 

Double    Diapason.      16    ft.    pitch  d.   London,    1626.     Kobert  composed 

organ  stop.  for  and  played  lute;    son  of  JOHN. 

Double  Dieze.    Fr.    Double  sharp.  Down  Beat.    The  first  beat  in  each 

Double  Drum.    Two-headed  DRUM,  measure. 

Double   Plageolet   has   two   tubes  Down  Bow  in  violin  playing  elicits 

and  one  mouthpiece.  the  greatest  volume  of  tone. 

Double  Flat  lowers  a  note  already  Doxologia  Magna.  L.  The  "Gloria 
flattened   by    the    signature    another  in  Excelsis  Deo." 
half  tone.     It  is  contradicted  by  the  Doxology.     The   Gloria   Patri   re- 
natural  sign  and  a  flat.  peated  at  the  end  of  the  Psalms,  or 

Double  Eugue.     Fugue  with  two  its  metrical  version, 
subjects.  Draeseke    (Felix    August    Bern- 
Double  Octave.     A  fifteenth.  hard)  composed  the  operas  "  Gudrun," 

Double   Pedal   Point.      Fugue   or  1884,  "  Herrat,"  1892 ;    three  sympho- 

melody  in  which  the  tonic  and  domi-  nies,    overtures,    a    requiem,    advent 

nant  are  long  sustained.  lied,  chamber  music,  "  Fantasiestucke 

Double  Quartet.     Composition  for  in    Walzeform,"    for    piano;     taught 

two  quartets  of  voices  or  instruments,  and  played  piano;    in  early  life  one 

Double  Beed.     Vibrating  reed  of  of   Liszt's   disciples   at   Weimar.     B. 

oboe  instruments;     16  ft.  pitch  reed  Oct.  7,  1835,  Coburg;    add.  Dresden, 

organ  stop.  Drag.      Ornament    in    lute    music 

Double    Root.      Extreme    SIXTH,  consisting  of  descending  notes. 

Doubles.   Changes  rung  on  five  bells.  Draghi    (Antonio)    composed    67 

Double  Sharp  raises  a  note  sharp-  operas,  116  feste  teatrali  and  scre- 
ened in  the  signature  another  half-  nades,  37  oratorios,  cantatas,  and 
tone.  It  is  contradicted  by  a  natural  hymns,  wrote  libretto  for  "Apollo 
and  a  sharp.  deluso,"  composed  by  Emperor  Leo- 
Double  Sonata  introduces  two  solo  pold,  1669;  intendant  at  the  Vienna 
instruments,  as  violin  and  piano.  court    theatre    and    chapelmaster    to 

Double     Stopped     Diapason.  Empress  Eleonore.    B.  1635,  Ferrara; 

BOURDON.  d.  Jan.  18,  1700,  Vienna.     Carlo  be- 


SBAGHI 


173 


DRTTM 


came  court  organist  at  Vienna.     Son 
of  ANTONIO;    d.  May  2,  1711. 

Sraghi  (Giovanni  Baptista)  com- 
posed music  for  Dryden's  ode  "  From 
Harmony "  and  many  popular  songs, 
and  for  harpsichord;  taught  music 
to  Queens  Mary  and  Anne  of  England ; 
orgamst  to  Catherine  of  Braganza, 
Queen  of  Charles  II;  collaborated  in 
D'Urfey'a  comic  opera,  "  Wonders  in 
the  Sun."  Possibly  a  brother  of  AN- 
TONIO; b.  Italy;  settled  in  England 
about  1667. 

Bragonetti  (Domenico)  composed 
sonatas,  concertos,  and  capriccios  for 
doublebass ;  ranked  for  more  than  half 
a  century  with  the  greatest  virtuosi 
of  that  instrument.  B.  April  7,  1763, 
Venice;    d.  April  16,  1846,  London. 

Dramma  Lyrica  or  Per  ICusica. 
It.    Primitive  opera. 

Drammaticamente  or  Dramma- 
tico.    /*.    In  dramatic  style. 

Dream  of  Gerontius.  Sir  Edward 
Elgar's  oratorio  to  Cardinal  New- 
man's poem  was  first  performed  Oct. 
3,  1900,  at  the  Birmingham  Festival, 
and  since  that  time  in  all  parts  of  the 
world,  ranking  its  composer  with  the 
foremost  of  living  British  musicians. 
Drechsler  (Josef)  composed  16 
masaeSj  six  operas,  25  singspiele, 
chamber  music;  wrote  instruction 
books  in  theory  and  for  organ; 
chapelmaster  at  St.  Stephen's,  Vienna. 
B.  Vlachovo  Brezi,  Bohemia,  May  26, 
1782;    d.  Feb.  27,  1852,  Vienna. 

Dreher.      Obsolete    German    dance 
resembling  the  LANDLER. 
Drehleier.    Ger.   HURDY  GURDY. 
Breichorig.     Ger.     Triple  stringed 
grand  piano;    trichord. 
Dreiklang.     Ger.    Triad. 
Dreistimmig.    Ger.   Music  in  three 
parts. 

Drei  Pintos.  Unfinished  opera  by 
Carl  Maria  von  Weber,  1812,  was  re- 
arranged by  his  grandson,  and  the 
music  completed  by  Gustav  Mahler  was 
performed  Jan.  20,  1888,  at  Leipsic. 

Dreschler  (Karl)  led  the  court 
band  at  Dessau;  became  famous  as 
teacher  and  player  of  'cello.  B. 
Kamenz,  Saxony,  May  27,  1800;  d. 
Dec.  1,  1873,  Dresden. 
Dreyscbock    (Alexander)    played 


piano  with  great  brilliancy;  taught 
in  St.  Petersburg  Conservatory.  B. 
Zack,  Bohemia,  Oct.  15,  1818;  d. 
April  1,  1869,  Venice. 

Dritta.     It.     Right. 

Driving  Kotes.     Syncopated  notes. 

Droite.     Fr.    Right. 

Drone.  Pipes  on  the  bagpipe  which 
emit  a  single  tone,  used  as  baas  to 
the  melody  sounded  by  the  chanter; 
hence  any  continuous  pedal  base;  the 
burden  of  a  song. 

Drouet  (Louis  FranQois  Philippe) 
composed  for  and  manufactured  flutes ; 
solo  flautist  to  Napoleon  I;  court 
chapelmaster  at  Coburg.  B.  1792, 
Amsterdam;  d.  Sept.  30,  1873,  Berne. 

Drum.  Of  the  various  percussion 
inatrumenta  which  appear  to  have 
been  common  to'  all  peoples  and  to 
all  times,  the  most  important  is 
the  kettledrum,  which  was  probably 
brought  to  Europe  by  returning  Cru- 
saders. Kettle  shaped  shells  of  brass 
or  copper  are  closed  by  a  parchment 
drawn  tightly  over  the  mouth  by 
means  of  screws,  and  the  drummer  is 
able  to  tune  his  instrument  by  tighten- 
ing or  slackening  this  parchment.  In 
the  modem  orchestra  at  least  two 
kettledrums  are  required, usuallytuned 
to  tonic  and  dominant  of  the  compo- 
sition to  be  played,  but  in  Berlioz' 
Requiem  are  parts  for  eight  pairs  of 
kettledrums.  Where  two  kettledrums 
are  employed  their  combined  range  ia 
from  F  to  f.  Beethoven  was  the  first 
composer  to  recognize  the  muaical 
value  of  the  kettledrum,  which  had 
been  used  merely  as  a  noisemaker  be- 
fore his  time,  and  various  tunings  for 
the  drums  are  given  in  all  his  impor- 
tant scores.  The  kettledrums  are 
beaten  with  sticks  having  whalebone 
handles  and  wooden  buttons  covered 
by  fine  sponge.  The  tone  of  the  bass 
drum  is  too  indefinite  to  require  tun- 
ing. It  is  important  in  fixing  rhythm. 
In  small  orchestras  the  bass  drummer 
is  often  compelled  to  play  cymbals  as 
well,  in  which  case  he  beats  the  drum 
with  one  hand  only.  The  Snare  Drum 
or  side  drum  is  a  military  instrument 
frequently  employed  by  modern  com- 
posers. The  Tenor  Drum  is  a  large 
side  drum  without  snares,  employed 


BKURY  LANE 


174 


DTTGAZON 


as  a  substitute  for  the  kettledrum  in 
military  bands.  TAMBOURINES 
and  TABORS  are  varieties  of  drum 
less  commonly  used  in  the  orchestra. 

Drury  Lane  Theatre  was  opened  in 
London,  1696,  but  the  present  build- 
ing dates  from  Oct.  10,  1812;  earlier 
structures  having  been  razed  or  burned. 
Dr.  Arne  and  Sir  Henry  Bishop  wrote 
largely  for  this  theatre,  and  later, 
Balfe  and  Benedict  produced  operas 
there.  It  was  the  home  of  serious 
opera,  1870-77,  under  Mapleson,  and 
again  in  1882,  under  Richter;  and  in 
1883  passed  to  the  Carl  Rosa  Com- 
pany. Sir  Augustus  Harris  began  his 
career  there  in  1887,  afterwards  re- 
moving to  Covent  Garden.  Drury 
Lane  was  still  occasionally  used  for 
grand  opera,  however,  and  was  the 
scene  in  1904  of  a  series  of  English 
productions  by  the  Moody-Manners 
Company. 

Drysdale  (L.  Learmont)  composed 
the  lyric  play  "The  Plague,"  Edin- 
burgh, 1896;  the  opera  "Red  Spider"; 
cantata,  "  The  Kelpie " ;  the  prize 
overture,  "Tam  o'  Shanter,"  1891; 
pupil  Royal  Academy  of  Music.  B. 
Edinburgh,   1866;    add.  London. 

D  String.  Third  string  on  violins ; 
second  string  on  violas  and  'cellos, 
and  three  stringed  doublebasses ; 
fourth  string  on  guitars. 

Duan.    Gaelic  verse  or  stanza. 

Dubois  (Prangois  Clement  Theo- 
dore) composed  "  Les  Sept  Paroles  du 
Christ,"  1867  for  Ste.  Clotilde,  Paris, 
where  he  was  chapelmaster ;  the 
operas  "La  Guzla  de  I'Emir,"  "Le 
Pain  bis,"  "Aben  Hamet,"  the  ballet 
"  La  Farandole,"  and  "  XaviSre," 
dramatic  idyl  in  three  acts;  became 
director  of  the  Paris  Conservatoire, 
1896  to  1905;  pupil  of  that  institu- 
tion, where  he  gained  first  prizes  for 
harmony,  fugue,  organ,  and  in  1861 
under  Ambroise  Thomas,  the  prix  de 
Rome;  Chevalier  of  the  Legion  of 
Honor,  1883;  member  of  the  Acad- 
Smie,  1894.  Other  important  composi- 
tions include :  "  Paradis  perdu,"  "  Di- 
vertissement," "  Pieces  d'Orchestre," 
"  Suite  d'Orchestre,"  "  Sc6nes  Sym- 
phoniques,"  the  overture  "  Fritiof," 
Symphonic  poem  "Notre  Dame  de  la 


Mer  " ;  "  Clovis,"  for  ten.,  bar.,  chorus, 
and  orchestra.  B.  Aug.  24,  1837,  Ros- 
ney,  Marne;    add.  Paris. 

Dubourg  (George)  wrote  "  History 
of  the  Violin,"  1835;  played  that  in- 
strument. B.  1799;  grandson  of 
MATTHEW;  d.  April  17,  1882, 
Maidenhead. 

Dubourg  (Matthew)  conducted 
viceregal  band  at  Dublin  and  com- 
posed Birthday  Odes  for  Dublin 
Castle,  1728-64;  became  master  of 
the  king's  band,  London,  1752;  played 
violin  with  great  skill.  B.  1703,  Lon- 
don;   d.  July  3,  1767,  London. 

Duels  or  Hertoghs  (Benedictus) 
composed  elegies  on  the  deaths  of 
Josquin  and  Erasmus,  an  eight-part 
Agnus  Dei,  the  motet  "  Peccantem  me 
quotidie,"  and  other  church  music; 
played  organ  at  Antwerp  Cathedral. 
B.  about  1480,  Flanders;  visited 
England,   1515. 

Ductus.     L.    AGOGE. 

Due,  a.    It.    DIVISI. 

Due  Corde.  /*.  Directs  that  the 
same  note  is  to  be  played  on  two 
strings  of  a  viol;  directe  release  of 
the  soft  pedal  in  piano  music. 

Duet  is  music  for  two  voices  or 
instruments  or  for  two  performers 
on  one  instrument. 

Duettino.     It.    Little  duet. 

Duetto.    It.    Duet. 

Due  Volte.    It.    Twice. 

Dufay  (Guillermus)  composed 
church  music  and  led  the  group  of 
composers  who  constituted  the  First 
Flemish  School;  was  canon  of  Cam- 
brai  and  Mons  and  the  recognized 
authority  on  music  in  his  day;  chor- 
ister in  the  papal  choir  at  Rome, 
1428.  B.  Hainault;  d.  Cambrai,  Nov. 
27,  1474. 

Dugazon  (Xme.  Kosalie)  sang 
light  rales  in  opera  so  admirably  as 
to  have  given  her  name  to  those  in 
which  she  excelled,  which  are  called 
"jeunes  Dugazon"  and  "meres  Du- 
gazon." B.  1755,  Berlin;  daughter 
of  the  actor  Lefevre;  d.  Sept.  22, 
1821,  Paris,  Gustave  composed  the 
ballet  "  Aline  " ;  played  piano ;  won 
prix  de  Rome  at  Paris  Conservatoire, 
1806.  B.  1782;  son  of  ROSALIE; 
d.  Paris,  1826. 


DITKAS                      175  DUPARC 

«  ?^A^  J^^*'^^^  composed  the  opera       Dump.    Obsolete  slow  dance  in  4-4 
"ARIANE  ET  BAEBE  BLEUB "  to    time. 

Maeterlinck's  text,  produced  in  Paris,  Dun  (Finlay)  composed  two  sym- 
1907,  at  the  Opfira  Comique,  and  later  phonies,  solfeggi,  edited  Scotch  music; 
at  the  Vienna  Folk  Opera,  a  work  said  played  first  viola  in  San  Carlos  Or- 
by  certain  critics  in  those  cities  to  chestra,  Naples.  B.  Feb.  24,  1795 
have  unified  note  with  word,  even  more  Aberdeen;  d.  Nov.  28, 1853,  Edinburgh! 
strikingly  than  in  Debussy's  setting  of  Duncan  (William  Edmonstoune) 
Pelleas  et  Mglisande."  Dukas  was  composed  "  Ye  Mariners  of  England " 
also  said  to  have  modelled  his  method  for  chorus  and  orchestra,  Glasgow 
on  Wagner  and  Strauss.  He  com-  Choral  Union,  1890;  Mass  in  F 
posed  the  lyric  drama  "  L'Arbre  de  minor,  1892;  the  opera  "Perseus";  set- 
Science";  the  symphonic  poem  "Ap-  tings  of  Swinburne's  "Ode  to  Music" 
prenti  Sorcier,"  a  symphony;  the  and  Milton's  "  To  a  Nightingale "  B 
overture  "  Polyeucte,"  a  piano  sonata;  1866,  Sale,  Cheshire,  Eng.;  taught  at 
the  overtures  "  Lear  "  and  "  Goetz  von  Oldham  College. 
Berlichingen,"  and  the  cantata  "Vel-  Duni  (Egidio  Bomoaldo)  com- 
leda,"  with  which  he  won  the  Prix  posed  "  Le  Peintre  amoureux,"  Paris, 
de  Rome;  wrote  music  criticism.  B.  1757,  one  of  the  earliest  examples  of 
Oct.  1,  1865,  Paris;   add.  Paris.  op6ra  comique,  and  in  all  22  operas; 

Dulcaynas.      8p.      Instrument    of  the    oratorio    "  Giuseppe    rioonoscie- 

Moorish  origin  of  the  oboe  family.  uto  " ;    pupil  of  the  Conservatorio  dei 

Dulcian   or   Dulciuo.      It.     Small  Poveri   di    Gesu   Cristo,   Naples;     in 

bassoon.  early  life  competed  with  Pergolesi  at 

Dulciana.      Open    diapason    organ  Rome,  where  his  opera  "  Nerone  "  was 

stop  of  pleasing  tone  and  small  scale,  a  success.     B.  Feb.  9,  1709,  Matera, 

probably  invented  by  Snetzler  about  Naples;    d.  June  11,  1775,  Paris. 

1754.     _  Dunkley  (Ferdinand  Louis)  com- 

Dulcimer.      An    instrument    prob-  posed  "  The  Wreck  of  the  Hesperus  " 

ably  of  oriental  origin  still  played  in  for  soli,  chorus,  and  orchestra,  Crys- 

Hungarian  or  Gipsy  orchestras  as  the  tal   Palace,    London,   April   7,    1894; 

czimbalom  or  cymbals;    consists  of  a  taught   music   in    St.    Agnes    School, 

resonance    box    usually    ornamented  Albany,  New  York,  1893,  and  played 

with  sound  holes,  over  which  strings  organ  First  Pres.  Church,  that  city, 

are  stretched,  and  having  two  bridges.  1897 ;    pupil  of  the  Royal  College  of 

There  are   usually  from  two  to   five  Music,    London.      B.    July    16,    1869, 

strings  for  each  note,  the  range  being  London;    add.  Albany,  N.  Y. 

from  g  to  d".    The  strings  are  set  in  Dunstable    (Tohn)    composed    a 

vibration  by  being  struck  with  ham-  three-part  song,  "  O  Bella  Rosa  " ;    a 

mers  held  in  either  hand.    The  modern  four-part    setting    of    "  Veni    Sancte 

piano  is  a  dulcimer,  in  which  the  ham-  Spiritus  " ;    wrote   on  "  Mensurabilis 

mers  are  operated  by  a  keyboard.  Musica  " ;     was  the  most  famous   of 

Dulcken    (SCme.    liouise)    taught  early     English     contrapuntists.       B. 

piano  to  Queen  Victoria  and  played  about  1400,  Dunstable,  Bedfordshire; 

piano  brilliantly  from  debut  at  12  in  d.  Dec.  24,  1453,  Walbrook. 

Hamburg  until  her  death  from  over-  Duo.    It.    Duet, 

work.     B.  Mar.  20,   1811,  Hamburg;  Duodecimo.    It.    A  twelfth, 

sister  of  FERDINAND  DAVID;     d.  Duodecimole.    /*.    Group  of  twelve 

London,  April  12,  1850.  notes. 

DulicMus   (Philip)  composed  and  Duodramma.     It.    Drama  for  two 

taught  music  in  Stettin.     B.   Chem-  performers;    melodrama  in  which  the 

nitz,  1562;    d.  Mar.  25,  1631.  words    are    spoken    to    musical    ac- 

Dumka.     "Lament."     Little  Rus-  companiment. 

sian  word  by  which  Dvofak  character-  Duolo.    /*.    With  grief,  sadness. 

izes  certain  slow  passages  in  his  cham-  Duparc  (Henri)  composed  the  sym- 

ber  music.  phonic  poem  "  Lenore,"  three  songs 


DXTPLE  TIME 


1^6 


DTTSSEE 


*ith  orchestras,  "  Phydilg,"  "  Invita- 
tion au  Voyage,"  "  Extase  '' ;  pupil 
of  Cesar  Franok.  B.  1848,  Paris;  re- 
tired because  of  ill  health,  1889. 

Duple  Tiuie  has  two,  four,  or  eight 
beats  to  the  measure. 

Dupont  (Auguste)  composed  •'  con- 
certstiick,"  Op.  42;  piano  concerto  in 
F  minor,  "  Contes  du  Foyer,"  Op.  12, 
and  the  song  cycle  "  Po6me  d'  amour  " ; 
played  piano  and  taught  Brussels  Con- 
servatory. B.  Feb.  9,  1827,  Ensival, 
near  Ligge;  d.  Dec.  17,  1890.  Joseph 
conducted  opera  at  Warsaw,  Moscow, 
Brussels,  Paris,  and  London.  B.  Jan. 
3,  1838,  Ensival;  brother  of  AU- 
GUSTE;   d.  Dec.  22,  1899,  Brussels. 

Duport  (Jean)  played  first  'cello  in 
the  band  of  Frederick  the  Great  of 
Prussia ;  directed  court  concerts  under 
his  successor;  pupil  of  Bar^haut.  B. 
Nov.  27,  1741,  Paris;  d.  Dec.  31,  1818, 
Berlin.  Jean  Louis  originated  mod- 
ern 'cello  technique ;  wrote  an  "  Essai 
sur  le  doigter  du  violoncelle  et  la 
conduite  de  I'archet,  avec  une  suite 
d'exercises  " ;  played  in  London,  and 
with  his  brother  JEAN  in  Berlin; 
joined  the  private  band  of  Empress 
Marie  Louise  and  became  teacher  at 
the  Paris  Conservatoire.  B.  Oct.  4, 
1749,  Paris;    d.  Sept.  7,  1819,  Paris. 

Buprez  (Gilbert)  created  the  lead- 
ing ten.  rSles  in  "  Benvenuto  Cel- 
lini," "Otello,"  and  "Favorita"  at  the 
Grand  Op6ra,  Paris;  composed  the  ora- 
torio "  The  Last  Judgment,"  a,  Re- 
quiem, masses,  chamber  music,  eight 
operas  including  "Joanita,"  1848,  and 
"  Jeanne  d'Arc,"  1857 ;  wrote  "  L'Art 
du  Chant,"  1845,  two  Methods;  "  Sou- 
venirs d'un  chanteur,"  and  "  Recrea- 
tions de  mon  grand  age."  B.  Dec.  6, 
1806,  Paris;   d.  Sept.  23,  1896,  Passy. 

Bupxiis  (Dr.  Thomas  Sanders) 
composed  cathedral  music;  played 
organ  Eng.  Chapel  Royal.  B.  Nov.  5, 
1733,  London;    d.  July  17,  1796. 

Dur.   Qer.  Major,  as  applied  to  keys. 

Durand,  A.,  et  Fils,  publish  music 
in  Paris  as  successors  to  Durand  et 
Schonewerk,  and  therefore  as  succes- 
sors to  Flaxland;  founded,  1847. 
Nearly  all  the  works  of  the  modem 
French  composers  have  been  issued 
by  this  house,  as  well  as  the  French 


versions  of  Wagner.  A  complete  edi- 
tion of   Rameau  is   in  preparation. 

Durand  or  Duranowsky  (Auguste 
Frederic)  played  violon  with  great 
brilliancy,  and  is  said  to  have  been 
Paganini's  early  inspiration;  led  band 
in  Strasburg.  B.  1770,  Warsaw;  son 
and  pupil  of  violinist  in  royal  band; 
d.  Strasburg. 

Durante  (Franoesoo)  composed  the 
song  "Danza,  fanciuUi,"  oratorios,  and 
church  music;  directed  Neapolitan 
conservatories.  B.  Mar.  15,  1684, 
Frattamaggiore,  near  Naples;  d.  Aug. 
13,  1755,  Naples. 

Durastanti  (Margherita)  sang 
leading  sop.  rOles  in  London  opera 
under  Handel.  B.  about  1695;  re- 
tired, 1734. 

Durate,  Duramente,  Dure.  It. 
With   hardness;     roughly. 

Durchcomponirt.  Oer.  "  Thorough 
composed."  Term  applied  to  songs 
with  different  mu^ic  for  each  stanza. 

Durchfiilirung.  Oer.  Develop- 
ment of  the  theme  or  subject  in  so- 
natas and  symphonies. 

D'TJrfey  (Thomas)  wrote  many 
plays  and  songs,  most  of  which  are 
disfigured  by  the  indecencies  of  his 
time,  though  some,  including  his  three- 
part  version  of  "  Don  Quixote,"  were 
set  by  Henry  Purcel.  B.  1653,  Exeter; 
d.  Feb.  26,  1723,  London. 

Duschek  or  Dussek  (Franz)  com- 
posed symphonies  and  chamber  music, 
and  ranked  with  the  best  of  piano 
players  and  teachers.  B.  Chotiebor, 
Bohemia,  Dec.  8,  1736;  d.  Prague,  Feb. 
12, 1799.  Josepha  sang,  composed,  and 
played  piano;  pupil  of  her  husband, 
FRANZ,  born  Hambacher;  she  was 
highly  esteemed  by  Mozart,  and  by 
Beethoven,  who  composed  the  ■  scena 
"Ah  Perfido"  for  her.  B.  Prague,  1756. 

Dussek  (Johann  Iiadislaw)  played 
piano  with  remarkable  skill,  especially 
noted  for  the  singing  quality  which 
he  evoked;  composed  "The  Captive  of 
Spilburg,"  in  collaboration  with 
Michael  Kelly,  Drury  Lane,  1798 ;  the 
piano  sonata  in  F  minor.  No.  31,  Op. 
77,  known  as  "  L'invocation " ;  the 
piano  sonata  in  F  sharp  minor,  Op.  61, 
known  as  the  "  Elegie  harmonique  sur 
la  morte  du  Prince  Louis  Ferdinand 


DUSSEK  177  DVORAK 

de  Pruase,"  whose  friend,  teacher,  and  of  Talleyrand,  Prince  of  Benevento 
compamon  Dussek  had  been;  in  all  by  whom  he  was  treated  with  marked 
nearly  100  works  for  piano,  includ-  consideration.  In  1812  Dussek  went 
mg  12  concertos,  53  sonatas,  and  many  to  St.  6ermain-en-Laye,  seeking  relief 
sonatas  for  piano  with  violin  or  flute,  from  an  attack  of  gout,  but  died  sud- 
church  and  chamber  music.  Son  of  denly,  after  being  confined  to  his  bed 
Johann  Joseph  Dussek,  organist  at  but  two  days.  B.  Feb.  9,  1761,  Czas- 
Czaslau,  Bohemia,  and  brother  of  lau;  d.  Mar.  20,  1812.  Sophia,  daugh- 
Franz  Benedict  and  Veronika  Kosalia,  ter  of  Domenico  Corri,  m.  JOHANN 
young  Dussek  began  the  study  of  piano  LADISLAW,  1792,  and  under  his  tui- 
at  five,  and  was  soon  able  to  assist  tion  speedily  acquired  reputation  as 
his  father  at  the  organ.  Developing  a  pianist  and  harpist,  having  already 
a  fine  treble,  he  entered  the  choir  of  appeared  in  concerts  as  a  singer.  On 
the  Minorite  Church  in  Iglau,  study-  the  death  of  Dussek  she  m.  John 
ing  music  with  Father  Ladislaw  Alvis  Moralt.  B.  Edinburgh,  1775. 
Spinar  and  the  humanities  in  the  Col-  Olivia  composed  songs  and  played 
lege  of  the  Society  of  Jesus.  Later  harp  and  piano;  m.  Buckley,  London 
he  became  organist  at  the  Jesuit  organist.  B.  London,  1797;  daughter 
church  in  Kuttenberg,  removed  to  of  SOPHIA;  d.  1847. 
Prague,  where  he  took  a  degree  in  Butch  Concert.  Convivial  enter- 
philosophy,  and  being  disappointed  in  tainment,  at  which  every  man  sings 
his  desire  to  join  the  Cistercians,  fell    his  own  song. 

in  with  Count  Manner,  with  whom  he  Duvernay  (Pauline)  became  the 
journeyed  to  Mechlin,  where  he  played  most  famous  ballet  dancer  of  her'  gen- 
organ  at  St.  Rombaut's  Church.  His  eration  in  both  Paris  and  London, 
next  engagement  was  as  organist  at  especially  noted  for  her '  performance 
Berg-op-Zoom,  but  in  1782  he  ob-  of  the  Cachuca;  m.  Stephens  Lyne 
tained  ah  appointment  at  Amsterdam,  Stephens,  M.  P.,  of  Norfolk,  Eng.,  Oct. 
where  his  growing  reputation  led  to  14,  1845,  devoting  the  remainder  of 
his  engagement  for  a  year  at  the  her  life  to  practical  charity.  B.  1813, 
Hague  as  music  master  to  the  Stadt-  Paris;  christened  Yolande  Marie 
holder's  children.  At  22  he  went  to  Louise;  d.  Sept.  2,  1894,  Lynford 
Hamburg  for  a  course  of  lessons  under  Hall,  Norfolk,  Eng. 
C.  P.  E.  Bach;  then  toured  Germany  Duvernoy  (Victor  Alphonse)  com- 
as a  performer  on  Hessel's  "  Har-  posed  "  La  Tempete "  for  soli,  chorus, 
monica,"  and  spent  a  year  with  Prince  and  orchestra,  Paris  municipal  prize, 
Radziwill  on  his  Lithuanian  estates.  1880;  the  operas  "  Sardanapale  "  and 
In  1789  he  played  before  Marie  An-  "  Helle  ";  the  lyric  scene  "  Cleopatra," 
toinette  in  Paris,  but  declining  an  ap-  the  two-act  ballet  "  Bacchus,"  Paris 
pointment  at  the  French  court,  visited  Opera,  1902 ;  the  overture  "  Hernani  " 
his  brother  Franz  Benedict  in  Italy,  and  chamber  music;  taught  piano  at 
and  after  another  sojourn  in  Paris,  the  Paris  Conservatoire,  where  he  had 
went  to  London  in  1790,  where  he  been  a  pupil.  B.  Aug.  31,  1842,  Paris; 
speedily  became  the  fashionable  plan-    add.  Paris. 

ist  and  teacher  of  the  period ;  married  Dux.  L.  Theme,  subject,  or  propo- 
Sophia  Corri,  daughter  of  Domenico,  sition  of  a  fugue,  the  answer  being 
and  engaged  with  his  father-in-law  in    called  Comes. 

the  pubishing  business.  In  1800  he  Dvorak  (Antonin)  composed  "  The 
was  obliged  to  leave  England  to  escape  Spectre  Bride,"  cantata  for  soli,  eho- 
his  creditors,  and  after  a  sojourn  at  rus,  and  orchestra.  Op.  69;  Stabat 
Hamburg  formed  the  connection  with  Mater  for  soli,  chorus,  and  orchestra. 
Prince  Louis  Ferdinand  of  Prussia,  Op.  58;  symphony  in  E  minor,  Op.  96, 
which  lasted  three  years,  and  until  "From  the  New  World";  "St.  Lud- 
the  Prince  was  killed  in  the  battle  of  milla,"  oratorio,  Op.  71;  Requiem, 
Saalfeld.  After  a  brief  service  with  Op.  89,  Birmingham  Festival,  1891; 
Prince  Isenberg,  Dussek  entered  that    cantata  "America's  Flag,"  Op.   102, 

12 


BVOKAE 


1.78 


sung  in  New  York,  1895;  the  operas 
"KSnig  und  Kohler,"  Prague,  1874; 
"Die  Dicksohadel,"  Prague,  1882; 
"Wanda,"  Prague,  1876;  "  Der  Bauer 
ein  Schelm,"  Prague,  1877;  "Dimi- 
trije,"  Prague,  1882;  "Jacobin,"  1889; 
"  Der  Teufel  und  -die  Wilde  Kathe," 
1899;  "Rusalka,"  Prague,  1901;  "Ar- 
mida,"  Prague,  1904;  chamber  music, 
songs,  and  orchestral  pieces.  Son  of 
the  innkeeper  and  butcher  at  Mtihl- 
hausen,  Bohemia,  and  destined  by  his 
father  for  the  butcher's  trade,  young 
Dvorak  learned  violin  from  the  village 
schoolmaster,  and  later  organ,  piano, 
and  theory  from  A.  Liehmann  at 
Zlonitz  and  from  Hancke  at  Kamnitz. 
His  father's  objections  to  music  as  a 
means  of  obtaining  a  livelihood  were 
finally  overcome,  and  in  1857  Dvorak 
went  to  Prague,  where  he  studied  three 
years  in  the  organ  school  under 
Pitzsch,  and  supported  himself  by 
playing  viola  in  the  caf6s.  In  1862 
the  National  Theatre  was  organized, 
and  Dvofak  became  a  member  of  the 
orchestra,  directed  by  Smetana,  who, 
with  Karel  Bendl,  gave  him  valuable 
assistance  in  his  studies.  In  1873  he 
became  organist  of  St.  Adalbert's 
Church,  retired  from  the  orchestra, 
married,  and  organized  a  class  in 
music.  His  first  work  to  attract 
general  attention  was  performed  in 
that  year,  the  patriotic  cantata  "  Die 
Erben  des  weissen  Berges,"  to  words 
by  Halek  ("The  Heirs  of  the  White 
Mountain  " ) ;  and  the  following  year 
a  symphony  in  E  flat,  the  scherzo  from 
a  symphony  in  D  minor  and  two  not- 
turnos  for  orchestra  were  performed. 
"  Der  Konig  und  KOhler,"  although  it 
had  to  be  entirely  rewritten  before 
production,  won  him  a  pension  of  $250 
per  annum  from  the  government,  and 
this  pension  was  afterwards  increased. 
The  friendship  of  Brahms,  one  of  the 
examiners,  resulted  from  this  award. 
"  Klange  aus  Mahren,"  a  collection  of 
duets,  and  .  the  "  Slavische  TSnze," 
published  by  Simroek,  became  popular 
throughout  Europe.  Thereafter  Dvo- 
rak was  an  international  character. 
He  conducted  performances  of  his  own 
works  in  London,  where  he  was  fa- 
vourably received,  and  from  1892  to 


1895  directed  the  National  Conserva- 
tory in  New  York,  leaving  suddenly 
for  Prague,  where  he  became  head  of 
the  conservatory  six  years  later. 
Dvorak  while  in  America  advised  the 
upbuilding  of  a  national  school  based 
on  plantation  music,  and  attempted  to 
embody  the  elements  suggested  in  his 
"  From  the  New  World "  symphony, 
the  only  effect  of  which  seems  to  have 
been  that  the  country  was  subsequently 
flooded  with  debased  melody  in  synco- 
pation, or  "  ragtime."  In  his  cham- 
ber music  Dvorak  introduced  the 
"  Dumka,"  a.  kind  of  lament,  and  the 
"  Furiant,"  which  is  a  modified  scherzo. 
Both  in  chamber  music  and  in  song 
Dvorak  created  a  wealth  of  melody.  B. 
Sept.  8,  1841;   d.  Prague,  May  1,  1904. 

Dwight  (John  Sullivan)  founded 
and  edited  Dwight's  Journal  of  Music, 
Boston,  1852-81;  helped  found  Har- 
vard Musical  Association;  in  early  life 
Unitarian  clergyman,  but  retired  and 
taught  music  and  classics  in  the  Brook 
Farm  community.  B.  1813,  Boston, 
Mass.;  grad.  Harvard  1832;  d.  Sept. 
5,  1893,  Boston. 

Dygon  (John)  composed  "Ad 
lapidis  positionem,"  three-part  motet 
contained  in  Hawkins'  "  History  of 
Music";   English  monk,  16th  century. 

Dykes  (Kev.  Dr.  John  Eacchus) 
composed  the  hymns  "  Nearer,  my  God, 
to  Thee,"  "  Jesus,  lover  of  my  soul," 
"  The  day  is  past  and  over  " ;  aided  in 
compiling  "  Hymns,  Ancient  and  Mod- 
em " ;  precentor  Durham  Cathedral. 
B.  Mar.  10,  1823,  Hull,  Eng. ;  d.  Jan. 
22,  1876,  St.  Leonards.  J.  St.  Oswald 
composed,  taught  piano,  Eoyal  College 
of  Music,  London;  pupil  of  Clara 
Schumann.  B.  Oct.  27,  1863;  son  of 
JOHN  BACCHUS;    add.  London. 

Dyne  (John)  composed  the  glee  "Fill 
the  bowl,"  which  won  a  Catch  Club 
prize,  1768;  sang  alto,  Eng.  Chapel 
Royal ;  lay  vicar,  Westminster  Abbey. 
Committed  suicide  Oct.  30,  1788. 

Dystonia.  Discordant;  with  false 
intonation. 


E  is  the  third  note  in  the  natural 
scale  of  C;  is  the  name  of  the  major 
scale  having  four  sharps  and  of  the 


EAGER  179  ECCLES 

minor  scale  relative  to  G  major;  is  mass  for  two  choirs  and  double  or- 
the  keynote  of  the  Phrygian  Mode;  is  chestra,  13  oratorios,  and  much  valu- 
the  name  of  the  first  string  or  chant-  able  church  music  which  has  been  lost- 
erelle  on  the  violm  and  the  fourth  court  organist  to  the  Prince  Bishop  of 
string  of  the  doublebass.  Salzburg   and   chief  organist   in   the 

Eager    (Jolin)    composed   a    piano    Cathedral.    B.  Mar.  7,  1702,  Jettingen, 

Bavaria;   d.  June  21,  1762,  Salzburg. 
Ebers  (Carl  Eriedrich)  composed 
u   -ij   -    XT       ■  u       J     T  "        *^®    drinking    song    "Wir    sind    die 

builder,    Norwich;     d.   June    1,    1853,    K8nig  der   Welt,"   four   operas,   can- 

tatas,     symphonies,     overtures,     and 
chamber   music.     B.    Mar.   25,    1770, 


sonata  and  songs;  played  organ; 
taught  at  Yarmouth  and  Edinburgh. 
B.  Aug.    15,   1782;    son  of  an  organ 


Edinburgh. 

Eames  (Emma)  sang  sop.  in  opera,  _.    „^„ 

debut  as  Juliette,  Mar.  13,  1889,  Cassel;  d.  Sept.  9,  18367  Berlin 
Grand  Opera,  Paris;  later  at  Metro-  Ebers  (John)  managed  opera  at  the 
pohtan  Opera,  New  York,  and  Covent  King's  Theatre,  London,  1821-28,  corn- 
Garden,  London;  pupil  of  Marchesi,  pletely  ruined  himself,  and  returned  to 
Paris;  m.  Julian  Story,  the  painter,  his  former  business  as  bookseller ;  wrote 
1891,  divorced  him,  1907.    B.  Aug.  13,  "  Seven  Years  at  the  King's  Theatre." 

1867,  Shanghai,  of  American  parents;  "    ■"" —   '      '  "     "         

add.  New  York. 

Ear.    Projecting  plates  of  metal  at-  ^  „_  , 

tached_  to  organ  pipes;    to  "play  by  "  De*r  Jahrmarkt  von  Plunderweile/' 

ear"   is   to   play   from   memory;     to  in  all  11  operas;   three  cantatas.  Mass 


B.  1785,  London;   d.  about  1830. 
Eberwein  (Traugott  Uaximilian) 

composed  "  Claudine  von  Villa  Bella," 


possess  a  "  good  ear"  is  to  have  a  cor 
reet  sense  of  pitch 


in  B  flat;   one  of  the  founders  of  Ger- 
man miisic  festivals ;    ohapelmaster  to 


Eastcott  (Bev.  Richard)  composed    Prince    von    Sehwarzburg-Rudolstadt 
piano   sonatas   and   songs;    wrote   on    B.  Oct.  27,  1775,  Weimar;    d.  Deo.  2, 


history   of   music, 
Eng.;    d.    1828 

Ebdea  (Thomas)  composed  two 
volumes  of  cathedral  music,  six  glees, 
two  harpsichord  sonatas;  played  or- 
gan 48  years  at  Durham  Cathedral. 
B._1738,  Durham;    d.  Sept.  23,  1811. 


B.    1740,   Exeter,    1831,  Rudolstadt. 

Ebollizione.  It.  Ebullition;  over- 
flow of  emotions. 

Ecart.    Fr.    Long  stretch  on  piano. 

Ecbole.     Or.     Sharpening  a  note. 

Eccard  (Johann)  composed  "  Er 
riihmt  die  heilige  Schrift"  and  many 


Ebeling  ( Johanu  Georg)  composed  other  chorales ;  wrote  "  Gedstliche 
"Warum  soUt  ich  mieh  denn  grS-  Lieder,"  1597;  musician  to  the  Fug- 
men  " ;  wrote  on  music ;  directed  at  gers  of  Augsburg,  and  chapelmaster  to 
the   Nicolaikirehe,    Berlin.      B.    July,  the  Elector  of  Brandenburg  at  Berlin. 


1637,  LUneberg;    d.  Stettin,  1676. 

Eberl  (Anton)  composed  a  sonata 
in  C  minor  and  other  piano  music 
which  was  published  as  Mozart's;    a 


B.   1553,  Milhlhausen,  Thuringia;    d. 
1611,  Berlin. 

Eccles  (Solomon)  taught  the  vir- 
ginals and  viols  in  London,  but  de- 


symphony  in  E  flat  which  was  played  stroyed  his  instruments  on.  being  con- 
at  a  concert  with  Beethoven's  Eroiea,  verted  to  Quakerism,  and  wrote  a 
and  preferred  to  it  by  the  critics  of    curious  dialogue  against  music  called 


the    time;    played    piano    admirably, 
conducted  at  the  court  of  St.  Peters- 


"A  Musick-Lector,"  etc.,  London,  1667 ; 
helped  George  Fox  organize  Quaker- 


burg,  1796-1801;    produced  the  operas  ism  in  the  West  Indies,  and  may  have 

"  La  Marchande  de   Modes,"   "  Pyra-  relapsed  into  fiddling  on  Ms  return 

mus  and  Thisbe,"  "  Die  Koeningin  der  to    England.      B.    London,    1618,   de- 

schwarzen  Inseln,"  and  much  chamber  scended  from  three!  generations  of  mu- 

music,  all  of  which  has  been  forgotten.  --- 


B.  Vienna,  June  13,  1766;    d.  Vienna, 
Mar.  11,  1807. 
Eberlin  (Johann  Ernst)  composed 


sicians;  d.  Feb.  11,  1683.  John  com- 
posed music  to  Congreve's  "  Way  of 
the  World"  and  in  all  for  46  plays, 
100   songs,   many  birthday  and  New 


"IX  Toccate   e  fughe  per  I'organo,"    Year's  Odes  while  serving  as  master 


ECCLESIASTICAZ. 


180 


EEDEN 


of  the  King's  Band  of  Music.  B.  Lon- 
don; son  of  SOLOMON;  d.  Jan.  12, 
1735,  Kingston  on  Thames.  Henry 
composed  12  violin  solos  in  Corelli's 
style;  pla,yed  violin  in  the  bands  of 
the  kings  of  England  and  France.  B. 
London;  second  son  of  SOLOMON; 
d.  about  1742,  Paris.  Thomas  played 
violin  in  London.  Youngest  son  of 
SOLOMON. 

Ecclesiastical  Modes.  PLAIN 
SONG  and  MODES. 

Ech.eioii.  Qr.  Hollow  vessel  used 
as  drum  or  gong;  metal  vases  which 
served  as  resonance  boxes  in  ancient 
theatres. 

Echelle.    Pr.    Scale. 

Echo.  B^verberation  or  its  imi- 
tation; in  organ  music  was  produced 
from  a  repetition  of  certain  stops  in 
the  treble  which  were  enclosed  in  a 
wooden  box  and  placed  in  a  remote 
part  of  the  organ  case;  in  modem 
instruments  the  echo  is  often  far  re- 
moved from  the  main  organ,  but  eon- 
trolled  by  electrical  action.  The  harp- 
sichord possessed  a  stop  for  obtaining 
a  soft  and  distant  effect. 

Echos  du  Temps  Pass€  is  a  three- 
vol.  collection  of  French  airs  dating 
from  the  12th  to  the  18th  century. 

Eck  (Johann  Friedrich)  composed 
four  concertos  for  violin,  a  conoertante 
for  two  violins;  played  violin  with 
distinction  until  1801,  when  he  mar- 
ried a  woman  of  wealth  and  retired 
to  Paris.  B.  Mannheim,  1766;  d. 
Bamberg,  about  1810.  Eranz  played 
violin  in  Brunswick  and  Kussia; 
taught  Spohr;  became  insane.  B. 
1774,  Mannheim;  pupil  and  brother 
of  JOHANN  FRIEDRICH;  d.  1804, 
Strasburg. 

Eckert  (Carl  Antonin  Elorian) 
composed  the  successful  opera  "  Das 
Fischermadchen "  at  10,  the  oratorio 
"Ruth"  at  13,  an  Echo  Song  still 
popular  with  high  sopranos;  con- 
ducted admirably,  accompanying  Sonn- 
tag  on  heir  tour  of  the  United  States,, 
afterwards  at  the  court  opera,  Vienna, 
at  Stuttgart  aorid  Berlin;  pupil  of 
Mendelssohn.  B.  Dec.  7,  1820,  Pots- 
dam;   d.   Berlin,  Oct.   14,   1879. 

Eclisses.  Fr.  Sides  of  a  lute,  vio- 
lin, or  guitar. 


Eclysis.     ECBOLE. 

£!cole.    Fr.    School. 

ficossaise.  Fr.  "  In  Scotch  style." 
Originally  a  bagpipe  dance  in  3-2  or 
2-4  time;  the  dance  has  generally 
been  written  by  modern  composers  in 
lively  2-4  time. 

Eddy  (Clarence)  became  at  an  early 
age  the  best  known  of  American  con- 
cert organists  and  teachers ;  pupil  of 
Dudley  Buck  in  Hartford,  Conn.;  of 
A.  Haupt  and  A.  Loeschhorn  in  Ber- 
lin; settled  in  Chicago,  1874,  as  organ- 
ist First  Cong.  Church;  directed  the 
Hershey  School  of  Musical  Art  in 
Chicago ;  m.  Mrs.  Sara  B.  Hershey,  its 
founder;  became  organist  First  Pres. 
Church,  1879;  made  several  success- 
ful concert  tours  of  the  United  States 
and  Europe ;  composed  organ  music 
in  classic  foiim.  B.  June  23,  1851, 
Greeniield,  Mass.;    add.  Chicago. 

E  Dur.     Qer.    The  key  of  E  major. 

Edwards  (Henry  John)  composed 
"  The  Ascension,"  oratorio,  Exeter, 
1888;  "Praise  to  the  Holiest,"  Here- 
ford Festival,  1891;  church  music, 
part  songs;  played  organ  Barnstaple 
in  succession  to  his  father  and  con- 
ducted Exeter  Oratorio  Society.  B. 
Feb.  24,  1854,  Barnstaple,  Devonshire; 
add.  Barnstaple. 

Edwards  (H.  Sutherland)  wrote 
"History  of  the  Opera,"  1862;  "Life 
of  Rossini,"  1881;  music  critic  "St. 
James  Gazette,"  London.  B.  Sept.  5, 
1829,  Hendon,  Middlesex;  add.  London. 

Edwards  (Julian)  composed  the 
opera  "  Elflnella,"  symphonies,  over- 
tures, and  the  comic  operas  "  Princess 
Chic,"  "Dolly  Varden,"  "When 'Johnny 
Comes  Marching  Home."  B.  1855, 
Majichester,  Eng. ;  became  conductor 
Royal  English  Opera  Company;  since 
1889  has  resided  in  New  York. 

Edwards  (Richard)  composed  and 
wrote  the  part-song  "  In  going  to  my 
naked  bed " ;  became  master  of  the 
children,  Eng.  Chapel  Royal;  wrote 
plays  and  verses.  B.  about  1523,  Som- 
ersetshire;   d.  Oct.  31,  1566,  London. 

Eeden,  van  den  (Jean  Baptiste) 
composed  the  opera  "  Numance,"  Ant- 
werp, 1897;  the  oratorios  "Brutus," 
"  Jacqueline  de  Baviere,"  "  Jacob  van 
Artevelde";  the  cajitataa  "Het  Woud" 


EFFEET 


181 


ELEVENTH 


and  "De  Wind";  directed  Mons  eon- 
Bervatoiy.  B.  Dec.  26,  1842,  Ghent; 
add.  Mons. 

EfEekt.     Oer.    Effect. 

Effet.    Fr.    Effect. 

Effetto.      It.    Effect. 

Egmont.  Beethoven's  music  to 
Goethe's  tragedy  consists  of  an  over- 
ture, two  sop.  songs,  four  entr'  acts, 
"  Clara's  Death,"  a  melodrama,  and  a 
finale,  in  all  10  numbers.  The  first 
performance  took  place  May  24,  1810. 

Eguaglianza.  It.  Equality,  even- 
ness. 

Egualemente.    It.  Equally,  evenly. 

Ehilert  (Ludwig)  composed  a 
"Spring"  symphony,  "Requiem  for 
a  Child,"  sonata  Romantique,  songs; 
wrote  criticism  and  sketches  of  the 
great  composers  called  "  Brief e  fiber 
Muaik,"  Berlin,  1859,  trans,  by  Ritter 
and  published  in  Boston,  1870.  B. 
Jan.  13,  1825,  KSnigsberg;  d.  Jan.  4, 
1884,  Wiesbaden. 

Ehrlicli  (Alfred  Heinrich)  com- 
posed "  Concertstuek  in  Ungariischer 
Weise,"  "  Lebenbilder  ";  court  pianist 
to  George  V  of  Hanover;  wrote  criti- 
cism and  novels.  B.  Oct.  5,  1822, 
Vienna;    add.  Berlin. 

Eibenschiitz  (Ilona)  played  piano, 
especially  noted  for  interpretation  of 
Brahms;  pupil  of  Clara  Schumann. 
B.  Budapest,  May  8,  1873;  m.  Carl 
Darenburg,  1902;    add.  London. 

Eichberg  (Julius)  composed  the 
operettas  "  The  Doctor  of  Alcantara," 
"The  Rose  of  Tyrol,"  "The  Two 
Cadis,"  and  "  A  Night  in  Rome " ; 
founded  the  Boston  Conservatory; 
played  and  taught  violin;  pupil  of 
the  Brussels  Conservatory,  where, 
under  Fetis,  he  won  first  prizes  in 
composition  and  violin  playing.  B. 
June  13,1824,  Dusseldorf ;  went  to  New 
York,  1857 ;   d.  Jan.  18,  1893,  Boston. 

Eight  Foot  Fitch  is  that  sounded 
by  an  open  organ  pipe  8  ft.  in  length, 
which  would  be  C.  Organ  pipes  pro- 
ducing such  tones  with  stopped  pipes 
are  said  to  have  8  ft.  tone. 

Eighth.     Octave. 

Eileen  Aroon.  The  popular  song 
known  in  a  Scotch  version  as  "  Robin 
Adair"  was  composed  to  Irish  words 
about  1385  by  Carrol  O'Daly. 


Einfach.    Ger.    Simple. 

Ein  Feste  Burg.  Martin  Luther's 
setting  of  Psalm  xlvi  to  his  own  trans- 
lation, was  probably  made  in  Coburg, 
about  1530.  It  recurs  in  the  works  of 
J.  8.  Bach,  Mendelssohn,  Wagner, 
Raff,  and  Meyerbeer. 

Eingang.     Qer.     Introduction. 

Eingestrichen.  Oer.  Having  one 
stroke,  as  e'. 

Einheit.    Oer.    Unity. 

Einleitun^ssatz.  Oer.  Opening 
phrase,  introduction,  or  overture. 

Einschlafen.  Oer.  To  diminish 
speed  and  volume. 

Einschlagend.  Oer.  "  Striking 
inwards."    Percussion  reed. 

Einschnitt.  Oer.  Incomplete  mo- 
tive or  sentence,  in  music. 

Eis.     Oer.    E  sharp. 

Eisteddfod.  "Sittings  of  learned 
men,"  were  held  originally  in  Waleq 
for  the  election  of  Chief  Bard,  "  Bardd 
Cadeiriawg  "  and  the  "  Pencrdd  "  or 
chief  minstrels,  who  were  alone  author- 
ized to  teach.  King  Cadwaladr  is  said 
to  have  presided  at  one  in  the  seventh 
century.  They  are  held  now  not  only 
in  Wales,  but  wherever  Welshmen  are 
assembled  in  sufScient  numbers,  for 
the  encouragement  of  Welsh  music  and 
literature. 

Eitner  (Bobert)  founded  the  "  Ge- 
sellschaft  fur  Musikforachung,"  1868; 
edited  many  publications,  including 
the  "  Quellen-Lexicon."  B.  Breslau, 
Oct.  22,  1832;   add.  Berlin. 

Eklysis.     Or.    ECBOLE. 

Ela.  The  highest  tone  in  the  Heza- 
chordaJ  system  or  e". 

Electric  Organ.  One  in  which  part 
of  the  mechanism  is  operated  by 
electricity. 

Elegantemente.    /*.    Elegant. 

Eleganza,  con.    It.   With  elegance. 

Elegy.  'Terms  applied  to  musical 
compositions  having  the  characteris- 
tics of  elegiac  verse,  even  though  with- 
out words. 

Elevatio.  L-  ARSIS;  motet  to 
be  sung  at  elevation  of  the  Host;  rais- 
ing a  mode  beyond  its  AMBITUS. 

Elevazione.  It.  Composition 
founded  on  a  special  theme. 

Eleve.    Fr.    Pupil. 

Eleventh.      Chord   built   up    from 


£LtORD 


182 


ELISIB  D'AIiIOBE 


dominant  root  by  series  of  superim- 
posed thirds. 

Elford  (Richard)  sang  in  London 
theatres  and  Eng.  Chapel  Koyal;  vieaj: 
choral  of  St.  Paul's  and  lay  vicar 
Westminster  Abbey.    D.  Oct.  29,  1714. 

Elgar  (Sir  Edward)  composed  a 
setting  for  Cardinal  Newman's  poem 
"  The  Dream  of  Gerontius,"  Birming- 
ham Festival  of  1900,  which  ranked 
him  with  the  foremost  of  British  mu- 
sicians, and  since  then  the  military 
marches  "  Pomp "  and  "  Circiun- 
stance,"  the  concert  overture  "  Cock- 
aigne" (In  London  Town);  inci- 
dental music  and  funeral  march  for 
the  Gaelic  play  "  Grania  and  Diar- 
mid  " ;  "  Dream  Children,"  two  pieces 
for  small  orchestra;  Coronation  Ode, 
1902;  five-part  songs  from  Greek  An- 
thology; "The  Apostles,"  oratorio; 
"  In  the  South,"  overture.  Son  of  the 
organist  in  the  Roman  Catholic  church 
at  Worcester,  Eng.,  Elgar  received  his 
earliest  and  almost  his  only  lessons 
from  his  father,  who  was  a  good  vio- 
linist as  well  as  organist.  Both  father 
and  son  played  in  the  orchestra  at  the 
Three  Choirs  Festivals,  and  in  time 
young  Elgar  was  able  to  assist  his 
father  at  the  organ.  He  received  a 
few  violin  lessons  from  Pollitzer  dur- 
ing a  short  visit  to  London,  1877,  and 
two  years  lat«r  became  bandmaster  at 
the  County  Lunatic  Asylum,  Worces- 
ter, composing  and  arranging  music 
for  his  men,  who  were  likewise  attend- 
ants in  the  institution.  An  Intermezzo 
was  produced  in  1883  at  Birmingham, 
which  seems  to  have  been  Elgar's  de- 
but as  a  composer.  In  1882  he  had 
become  conductor  of  the  Worcester 
Amateur  Instrumental  Society,  and 
wrote  the  programmes  for  its  concerts. 
In  1885  he  succeeded  his  father  as  or- 
ganist at  the  Eoman  Catholic  church, 
where  he  remained  for  the  next  four 
years,  marrying  in  1889  and  settling 
in  London.  Discouraged  alike  by  pub- 
lishers and  managers,  Elgar  retired  to 
Malvern  and  taught  and  conducted. 
His  Froissart  overture,  played  at  the 
Worcester  Festival  of  1890,  had  some- 
what extended  his  reputation,  and  in 
rapid  succession  the  "  Scenes  from  the 
of    King    Olaf,"    "The    Black 


Knight,"  "  Scenes  from  the  Bavarian 
Highlands,"  and  his  "Lux  Christi" 
oratorio,  were  made  known;  and  in 
1899  his  cycle  of  "  Sea  Pictures "  in- 
creased his  popularity.  The  cantata 
"  Banner  of  St.  George,"  a  Te  Deum 
and  Benedictus  in  F,  and  the  cantata 
"  Caractacus  "  bring  the  list  down  to 
the  notable  "  Dream  of  St.  Gerontius," 
which  has  now  been  heard  in  Germany 
and  in  America,  as  well  as  in  England, 
where  it  won  him  the  honour  of  knight- 
hood. B.  June  2,  1857,  Broadheath, 
near  Worcester;    add.  Hereford. 

Eli.  Sir  Michael  da  Costa's  ora- 
torio to  book  by  Bartholomew  was 
first  performed  Aug.  29,  1855. 

Elijah.  Felix  Mendelssohn's  sec- 
ond oratorio  to  book  by  Bartholomew 
consisting  largely  of  Biblical  selec- 
tions,  was   first  performed  Aug.   26, 

1846,  in  London,  and  later  revised  and 
again  performed  by  the  Sacred  Har- 
mony Society,  Exeter  Hall,  April  16, 

1847.  It  appears  to  have  been  begun 
by  the  composer  in  1845. 

Elisa.  M.  Luigi  C.  Z.  S.  Cheru- 
bini's  two-act  opera  to  book  by  Saint- 
Cyr  was  first  performed  Dee.  13,  1794, 
at  the  Theatre  Feydeau,  Paris. 

Elisir  d'Amore.  Gaetano  Doni- 
zetti's two-act  opera  buffa  to  book  by 
Romani  was  first  performed  in  Milan, 
1832,  has  been  popular  in  all  countries, 
and  is  known  in  an  English  version  as 
"  The  Love  Spell."  The  scene  is  laid 
in  an  Italian  village  to  which  the 
celebrated  quack  Dr.  Dulcamara  comes 
to  sell  his  medicines.  Adina,  the  vil- 
lage belle,  is  loved  by  Nemorino,  who 
buys  of  the  quack  a  bottle  of  the  Elixir 
of  Love,  which  is  nothing  more  than  a 
rather  heady  wine.  Hoping  for  a 
speedy  understanding  with  Adina,  Ne- 
morino drinks  the  whole  bottle,  be- 
comes drunk,  and  greets  Adina  with 
such  assurance  that  she  immediately 
resolves  to  marry  the  Recruiting  Ser- 
geant, who  ha^  been  courting  her  for  a 
long  time.  Receiving  an  order  trans- 
ferring him  to  another  part  of  the 
country,  the  Sergeant  implores  her  to 
set  the  marriage  for  that  day,  to  which 
Adina  agrees.  In  the  midst  of  the 
festivities  Nemorino  has  sobered  up, 
and   he  implores  Dulcamara  to  give 


ELLA 


183 


ELSSLER 


him,  a  more  potent  charm,  which  the 
quack  refuses  to  do,  as  Nemorino  has 
no  more  money.  At  this  juncture  the 
Sergeant  appears,  Adina  haying  re- 
fused to  sign  the  marriage  contract 
until  evening,  and  finding  Nemorino  in 
need  of  money,  oflfers  him  a  bonus  of 
20  crowns  if  he  will  enlist  in  the  army. 
Thus  Nemorino  obtains  a  second  bottle 
from  Dulcamara.  Meantime  the  news 
has  spread  through  the  village  that 
Nemorino's  uncle  has  died,  leaving 
him  some  property,  and  the  village 
maidens  show  an  increased  interest 
in  the  heir  which  he  attributes  to  the 
magic  effect  of  the  Elixir,  and  he  re- 
solves to  make  Adina  jealous.  She 
too  seeks  the  aid  of  the  quack,  and 
learns  from  him  of  Nemorino's  devo- 
tion, whereupon  she  jilts  the  Sergeant 
and  marries  her  devoted  lover.  In  the 
first  act  is  the  admirable  buffo  song 
"  Udite,  udite,  o  rustici,"  Dulcamara ; 
the  duet  "  Obbligato,  ah !  si  obbli- 
gato,"  Dulcamara  and  Nemorino ;  and 
in  the  second  act  a  lively  tenor  ro- 
mance for  Nemorino,  "  Una  furtiva 
la^ima,"  and  the  duet  "  Quanto 
amore!  ed  io  spietata,"  Dulcamara 
and  Adina. 

Ella  (John)  founded  the  London 
morning  concerts  known  as  the  "  Mu- 
sical Union,"  which  lasted  from  1845 
to  1880,  and  the  "Musical  Winter 
Evenings,"  1850-59,  for  both  of  which 
series  he  wrote  analytical  programmes ; 
lectured  on  music,  London  Institution 
from  1855;  wrote  criticism,  London 
"Morning  Post."  B.  Dec.  19,  1802; 
Bonof  Richard  Ella  of  Thirsk;  d.  Oct. 
2,  1888,  London. 

EUerton  (John  Lodge)  composed 
the  successful  English  opera  "  Dom- 
enic,"  Drury  Lane,  London,  1838,  and 
other  operas  to  German,  Italian,  and 
English  books,  the  oratorio  "  Paradise 
Lost,"  six  masses,  six  anthems,  six 
symphonies,  four  concert  overtures,  17 
motets,  13  sonatas,  61  glees;  be- 
friended Wagner  on  his  visit  te  Lon- 
don, 1855.  B.  Jan.  11,  1801,  Cheshire, 
Eng.;    d.  Jan.  3,  1873,  London. 

ElUcott  (Bosalind  Frances)  com- 
posed the  song  "  To  the  Immortals," 
Gloucester  Festival,  1883;  dramatic 
overture,   Gloucester  Festival,    1886; 


"  Elysium,"  cantata  for  the  Gloucester 
Festival,  1889;  "The  Birth  of  Song," 
1892;  "Radiant  Sister  of  the  Dawn," 
Cheltenham  Festival,  1895;  "Henry 
of  Navarre,"  cantata  for  male  voices, 
Oxford,  1894,  and  chamber  music; 
pupil  of  Thomas  Wingham,  Royal 
Academy  of  Music,  London.  B.  Nov. 
14,  1857;  daughter  of  the  Rt.  Rev. 
C.  J.  EUicott;    add.  London, 

EUis-Sharpe  (Alexander  John) 
translated  Helmholtz's  work  "  On  the 
Sensations  of  Tone,"  London,  1875; 
wrote  on  pitch,  "Pronunciation  for 
Singers,"  1877;  "Speech  in  Song," 
1878.  B.  June  14,  1814,  Hoxton,  Eng.; 
d.  Oct.  28,  1890,  London. 

Elmblad  (Johannis)  sang  bass  in 
Wagnerian  opera;  Wagner's  original 
choice  for  Donner  in  "Das  Rhein- 
gold  " ;  sang  Faf ner  at  Bayreuth  and 
principal  opera  houses,  Europe  and 
America.  B.  Aug.  22, 1853,  Stockholm. 

Elsenheimer  (ITichoIas  J.)  com- 
posed "  Valerian,"  "Belshazzar,"  can- 
tatas with  orchestra;  taught  Cincin- 
nati College  of  Music,  1891;  LL.D., 
Heidelberg.  B.  1866,  Wiesbaden;  add. 
Cincinnati. 

Eisner  (Joseph  Zaver)  aided  in 
founding  the  Warsaw  Conservatoire, 
of  which  he  was  first  director  and  pro- 
fessor of  composition,  1821;  taught 
Chopin;  composed  21  operas  in  Polish, 
symphonies,  chamber  music,  church 
music,  cantatas,  and  a  Stabat  Mater, 
1844;  chapelmaster  at  Lemberg.  B. 
June  29,  1769,  Grottkau,  Silesia;  d. 
April  18,  1854,  Warsaw. 

Elson  (Charles  Louis)  composed 
songs  and  instrumental  pieces,  trans- 
lated and  arranged  more  than  200 
songs  and  operas ;  wrote  "  Curiosities 
of  Music,"  "The  National  Music  of 
America,"  1900;  taught  theory  and 
history,  New  England  Conservatory 
of  Music;  wrote  criticism,  Boston 
"Herald,"  "Courier,"  and  "Adver- 
tiser " ;  edited  "  Vox  Humana."  B. 
April  17,  1843,  Boston;    add.  Boston. 

Elssler  (Fanny)  danced  as  Zolo6 
in  Auber's  "Bayadere"  in  Berlin, 
1832,  and  thereafter,  until  her  retire- 
ment, 1851,  was  one  of  the  most 
noted  ballerinas  in  Europe;  youngest 
daughter  of  Haydn's  servant  and  copy- 


ELVEY 


184 


ENGIiAND 


ist,  Johann  Elssler;  debut  at  six  in 
children's  ballet  at  the  Theatre  an 
der  Wien,  Vienna.  B.  June  23,  1810, 
Gumpendorf,   near   Vienna;     d.    Nov, 


Emperor's  Hymn.  Joseph  Haydn's 
setting  of  a  hymn  written  by  Lorenz 
Leopold  Hauschka,  1796,  embodies  the 
patriotic   feeling   aroused  in  Austria 


27,  1884,  Vienna.     Therese  designed    by  the  excesses  of  the  French  Revolu- 

■    "  ■  tion,  and  was  sung  Feb.  12,  1797,  at 

the  Emperor's  birthday. 

Empflndung.  Qer.  Feeling,  emo- 
tion, passion. 

Emphasis.    Accent,  ARSIS. 

Em.porte.  Fr.  Hurried;  passionate. 

EmpressS.     Fr.    Eager,  hurried. 

Eiiarm.oiiico.     It.    Enharmonic. 

En  Badinant.     Pr.    Scherzando. 

Encore.  Fr.  "  Again."  The  word 
used  by  English-speaking  audiences  in 
demanding  that  a  work  be  repeated, 
although  in  French,  as  in  German,  the 
word  employed  is  "  BIS." 

Ende.    Cter.    End. 

End  Man.  In  negro  minstrelsy  the 
performer  at  either  end  of  the  semi- 
circle. 

Energia,  con.    It.    With  energy. 

Energicamente  or  Energico.  It. 
With  energy,  forcibly. 

Enfant  de  Choeur.    Fr.    Chorister. 

Enfant  Prodigue.  Daniel  F.  E. 
Auber's  five-act  opera  to  book  by  Scribe 
was  first  performed  Dec.  6,  1850,  at 
the  Acadfimie,  Paris.  A  three-act  pan- 
tomime of  this  title  was  popular  in 
London  and  Paris,  1890-91;  com- 
posed by  Andre  Wormser  to  scheme 
by  Carre,  fils. 

Enfasi,  con.    It.    With  emphasis. 

Enfatico.     /*.     With  emphasis. 

Enfler.     Fr.    To  swell. 

Euge.  Qer.  Narrow,  as  of  organ 
pipes;  close,  as  the  stretto  of  a 
fugue;  Harmonie,  close  harmony. 

Engel  (Carl)  wrote  "Descriptive 
Catalogue  of  the  Musical  Instruments 
in  the  South  Kensington  Museum," 
1874;  "Music  of  the  Gipsies,"  1880; 
an  elaborate  MS.  descriptions  of  the 
musical  instruments  of  the  whole 
world;  composed  a  piano  sonata  and 
played  and  taught  that  instriunent. 
B.  July  6,  1818,  Thiedenweise,  Han- 
over;   d.  Nov.  17,  1882,  London. 

Engelstimme.  Oer.  VOX  AN- 
GELICA. 

Engfiihrung.     Qer.     STRETTO. 

England  (George)  built  organs  in 
England,    1740-88;     m.    daughter   of 


ballets  and  danced  with  her  sister 
FANNY;  became  morganatic  wife  of 
Prince  Adalbert  of  Prussia,  1848;  en- 
nobled by  the  King  of  Prussia  as 
Countess  von  Barnim.  B.  1808;  d. 
Nov.  19,  1878,  Meran. 

Elvey  (Dr.  Sir  Oeorge  Job)  com- 
posed "  The  Lord  is  King,"  anthem 
with  orchestra,  Gloucester  Festival, 
1853;  "Sing,  O  heavens,"  Worcester 
Festival,  1857;  Festival  March  for 
wedding  of  Princess  Louise  of  Great 
Britain,  1871,  in  which  year  he  was 
knighted;  organist  St.  George's 
Chapel,  Windsor.  B.  Mar.  27,  1816, 
Canterbury;  d.  Deo.  9,  1893,  Windle- 
sham,  Surrey.  Dr.  Stephen  composed 
an  Evening  Service  and  other  church 
music;  played  organ  at  New  College, 
Oxford.  B.June  27,  1805,  Canterbury; 
brother  of  GEORGE  JOB;  d.  Oct.  6, 
1860,  Oxford. 

Elwart  (Antoine  Aimable  Elie) 
composed  the  oratorios  "  No6,"  Paris, 
1845;  "La  Naissance  d'five,"  Paris, 
1856;  the  opera  "  Les  Catalans," 
Rouen;  symphonies,  overtures,  church 
and  chamber  music ;  taught  harmony, 
Paris  Conservatoire,  where  he  had 
been  a  pupil,  and  in  1834  had  cap- 
tured the  Prix  de  Rome.  B.  Nov.  18, 
1808,  Paris;    d.  Oct.  14,  1877,  Paris. 

Embouchure.  Fr.  The  mouthpiece 
of  a  wind  instrument;  hence  the 
method  of  blowing  such  instruments. 

Emerald  Isle.  Sir  Arthur  Sulli- 
van's two-act  comic  opera,  completed 
after  his  death  by  Edward  German, 
book  by  Captain  Basil  Hood,  was  first 
performed  April  27,  1901,  at  the  Savoy 
Theatre,  London. 

Emmeleia.  Qr.  Accord  of  musical 
tones;    music  of  a  tragic  dance. 

E  Moll.  Ger.  Key  of  E  minor. 
Relative  minor  key  to  G  major. 

Empater  les  Sons.  Fr,  To  sing 
legato. 

Emperor  Concerto.  Ludwig  van 
Beethoven's  piano  concerto  in  E  flat. 
Op.  7,  is  so  named,  though  without  the 
composer's  advice  or  consent. 


EKGIilSH  HOBN 


185 


ENTBEE 


Kichard    Bridge;     was    succeeded   by 
his  son  George  Pike. 

English  Horn.     COR  ANGLAIS. 

English  Opera  in  the  sense  of 
serious  opera  is  practically  non-exist- 
ent, although  the  Carl  Rosa  and 
Manners-Moody  companies  in  England 
and  Henry  W.  Savage  in  America  have 
done  much  to  make  the  grand  operas 
of  other  countries  familiar  in  the 
vernacular.  English-speaking  people 
have  always  shown  a  preference  for 
opera  in  some  unfamiliar  language,  a 
fact  which  seems  incapable  of  explana- 
tion, but  which  has  always  been  dis- 
couraging to  interpretive  and  crea- 
tive musicians  alike. 

Engraving  Husic  is  the  first  proc- 
ess in  the  publication  of  most  of  the 
music  in  modem  times.  Stave  lines 
are  first  out  on  a  pewter  plate,  and 
the  notes  are  added  by  means  of  steel 
punches.  Proofs  are  then  pulled  in 
a  copper  plate  press,  revisions  made, 
and  when  the  plate  has  been  corrected, 
a  copy  is  taken  in  transfer  ink,  which 
is  then  applied  to  a  lithographic  stone. 
Copper,  zinc,  and  pewter  plates  and 
movable  type  were  employed  in  the  re- 
production of  music  prior  to  the  in- 
vention of  lithography. 

Enharmonic.  One  of  the  three 
genera  in  GREEK  MUSIC,  the  others 
being  Diatonic  and  Chromatic;  en- 
harmonic scales  are  those  containing 
intervals  less  than  a  semitone ;  an  en- 
harmonic instrument  is  one  capable  of 
producing  G  sharp  and  A  flat  as  dis- 
tinct tones,  which  though  mathe- 
matically different,  are  reconciled  in 
Equal  TEMPERAMENT  on  keyboard 
instruments,  both  being  produced 
on  the  piano  by  the  same  black  key; 
enharmonic  modulation  is  a  mis- 
leading term  which  signifies  a  change 
as  to  notation  but  not  as  to  tone, 
which  is  only  possible  on  instru- 
ments tuned  in  Equal  Temperament, 
where  C  sharp  and  D  flat,  etc.,  are 
identical. 

Enna  (August)  composed  the  three- 
act  opera  "Heksen"  (The  Witch), 
produced  with  success  Jan.  24,  1892, 
at  the  Copenhagen  Royal  Opera; 
"Aucassin  et  Nicolette,"  Copenhagen 
and  Hamburg,  1896-97 ;  "  Cleopatra," 


1892,  which  became  popular  the  follow- 
ing year;  violin  concerto  in  D  major; 
largely  self  taught  until  with  Gade's 
help  he  won  the  Ancker  scholarship, 
1888-89,  which  enabled  him  to  spend 
a  year  in  Germany.  B.  May  13,  1860, 
Nakskov,  Denmark;   add.  Copenhagen. 

Enoch  &  Sons  published  music  in 
London  from  1869. 

Enoplius.  Or.  Warlike  music; 
war  dance. 

Ensemble.  Pr.  "Together." 
Union  of  a  whole  group  of  performers 
in  a  concerted  number;  effect  of  a 
musical  performance. 

Entfiihrung  aus  dem  Serail.  W. 
A.  Mozart's  singspiel  or  comic  opera 
in  three  acts  to  book,  altered  from 
Bretzner's  "  Belmont  und  Constanze," 
by  Stephanie,  was  first  performed  at 
Vienna,  July  16,  1782.  There  are 
Italian,  English,  and  French  versions. 
Constanza,  who  is  betrothed  to  Bel- 
monte,  her  maid  Bionda,  and  Pedrillo, 
Belmonte's  servant,  are  captured  by 
Corsairs  and  sold  to  the  Turkish  mag- 
nate Selim  Pasha,  who  chooses  Con- 
stanza  for  himself,  gives  Bionda  to  his 
overseer,  Osmin,  and  sets  Pedrillo  to 
work  in  his  garden.  Constanza  main- 
tains her  vow  of  fidelity  to  Belmonte, 
although  the  Pasha  seeks  in  every  way 
to  gain  her  affections.  Belmonte,  noti- 
fied of  their  place  of  captivity  by 
Pedrillo,  attempts  a  rescue,  but  is 
himself  captured,  and  the  four  Chris- 
tian prisoners  are  brought  before  the 
Pasha,  to  whom  Constanza  boldly  tells 
her  story.  Selim  Pasha  retires,  over- 
come by  emotion,  and  the  captives  pre- 
pare for  death,  but  the  magnanimous 
Pasha  sets  them  free,  provides  the 
means  for  them  to  return  to  their  own 
country,  asking  only  their  friendship 
in  return. 

Entr'act.  Fr.  Music  performed 
between  the  acts  at  any  performance, 
whether  operatic  or  dramatic 

Entrata.  /*.  ENTREE;  Scena 
d'la,  singer's  first  scene  in  opera. 

Entrechats.  Fr.  Bounding  steps 
employed  by  a  ballerina  in  crossing  or 
entering  the  stage. 

Entree.  Fr.  Short  composition  in 
march  time  to  which  the  ballet  or  other 
procession  enters. 


ENTBEMESE 


186 


EBLANGEB 


Entremese.      Sp.      Short    musical    mon 
interludes. 

Entremets.  Fr.  Interludes  which 
were  popular  as  early  as  the  reign  of 
St.  Louis  in  France,  from  which  some 
historians  trace  the  growth  of  both 
opera  and  drama. 

Entusiasmo.     It.     Enthusiasm. 

Entusiastico.  It.  With  enthu- 
siasm. 

Entwurf.    Ger.    Sketch. 

Eolian.  Hode  is  the  fifth  of  the 
authentic  Gregorian  MODES. 

Epicedion.     Or.    Dirge  or  elegy. 

Epicinion.  Gr.  Song  of  triumph; 
Sanctus  in  the  Greek  liturgy. 

Epigoneion.  40  stringed  lyre 
named  for  its  inventor  Epigonus. 

Epilenia.     Gr.    Vintage  songs. 

Epine,  de  1'  (Francesca  ISargher- 
ita)  sang  in  London,  1692,  with  great 
success  until  1718,  when  she  m.  Dr. 
Pepusch  and  retired,  having  accumu- 
lated $50,000,  and  having  paved  the 
way  for  other  Italian  singers.  D.  Aug. 
10,  1746. 

Epinette.    Fr.    Spinet. 

Episode.  Secondary  subject  or  an- 
swer in  fugal  works. 

Epistle  Side.  The  left  or  north 
side  of  the  altar  as  opposed  to  the 
right  or  south,  called  the  Gospel  Side. 

Epistroph.e.     Gr.    Refrain. 

Epitasis.  Raising  the  voice  or  an 
instrument's  strings  from  low  to  high 
pitch. 

Epithalamium.  Gr.  Wedding 
ode. 

Epode.  Gr.  After  song;  burden 
or  refrain. 

E  Poi.  It.  "And  then,"  as  la 
coda,   then  to  the  coda. 

Equabilimente.     It.    Equally. 

Equal  Temperament  is  discussed 
under  TEMPERAMENT. 

Equal  Voices.  Works  for  women's 
or  men's  or  boy's  voices  are  said  to  be 
for  equal  voices,  and  when  male  and 
female  voices  are  used  in  combination 
they  are  said  to  be  mixed. 

Equale.    /*.    Equally. 

Equale.  Short  pieces  written  for 
instruments  of  the  same  general 
quality. 

Equivoca.    L.    Equivocal,  doubtful. 

Equivocal  Chords  are  those  com- 


mon to  two  or  more  keys,  which  leave 
the  mind  in  doubt  as  to  the  key  which 
is  to  follow. 

Erard  (Sebastien)  invented  the 
double  action  and  other  important  im- 
provements for  the  harp;  made  the 
first  French  piano,  1777 ;  invented  the 
repetition  action  of  the  piano,  and  a 
combination  of  piano  and  organ  which 
he  called  "  Piano  Organise,"  the 
"Orgue  Expressif";  founded  the  Paris 
piano  and  organ  business  still  con- 
tinued as  Erard  &  Cie.  B.  April  5, 
1752,  Strasburg;  d.  Aug.  5,  1831. 
Pierre  continued  and  enlarged  the 
.  business,  and  is  said  to  have  invented 
the  Harmonic  Bar,  1835.  B.  1796; 
nephew  of  SEBASTIEN;  d.  Aug.  18, 
1855.  His  widow  continued  the  busi- 
ness, and  from  her  it  passed  to  Count 
de  Pranqueville,  who  had  married  her 
niece,  and  was  the  chief  proprietor  in 
1908,  although  the  management  de- 
volved on  his  partner,  M.  Blondel. 

Erba  (Don  Dionigi)  composed  a 
Magnificat  from  which  Handel  doubt- 
less appropriated  several  numbers  for 
the  second  part  of  "  Israel  in  Egypt "; 
chapelmaster  and  priest  in  the  Church 
of  S.  Francesco,  Milan,  1792. 

Erbacb.  (Christian)  composed 
church  music;  played  organ  to  the 
Puggers  of  Augsburg.  B.  Algesheim, 
Palatinate,  1573. 
Erhohung.  Ger.  Elevating,  raising. 
Erhbb.ungzeich.en.  Ger.  The 
sharp  sign. 

Erk  (Ludwig  Christian)  edited 
many  important  collections  of  songs 
including  "  Deutscher  Liederhort"; 
directed  music  in  Berlin  royal  sem- 
inary; established  singing  societies 
and  festivals.  B.  Wetzlar,  Jan.  6, 
1807;    d.  Nov.  25,  1883,   Berlin. 

Erkel  (Franz)  composed  the  na- 
tional anthem  of  the  Hungarians  in  a 
successful  competition,  1841,  the 
operas  "  Hunyady  LSszlo,"  which  is 
still  popular;  "  Bathori  Maria," 
"Bank-Ban,"  "  Dozsa  GySrgy,"  "Ist- 
van  Kiraly";  played  piano;  conducted' 
at  the  National  Theatre,  Buda-Pest. 
B.  Nov.  7,  1810,  Bskgs,  Gyula;  d.  June 
15,  1893,  Budapest. 

Erlanger  (Camille)  composed  the 
operas  "Le  Fils  de   I'fitoile,"  Grand 


EBLAUGSB,  'O 


ISI* 


lEBOICA 


Opera,  Paris,  April  20,  1904;  "  Bar- 
kokeba,"  "  Aphrodite,"  and  "  La  Glu"; 
won  his  first  success  with  "  Le  Juif 
Polonais,"  Op6ra  Comique,  Feb.  8, 
1897;  pupil  of  the  Pans  Conserva- 
toire, where  he  won  the  Prix  de  Kome, 
1888.  Other  works  to  be  noted  are: 
the  dramatic  legend  "  Saint- Julien 
I'Hospitalier,"  the  idyll  "  Kermaria," 
"  serenade  carnavalesque  "  for  orches- 
tra, "  Pogmea  ruases."  B.  May  25, 
1863,  Paris;    add.  Paris. 

Erlanger,  d'  (Frederic)  composed 
the  operas  "  Jehan  de  Saintrfi,"  "  Inez 
Mendo,"  "Tess  of  the  d'Urbervilles  " ; 
suite  symphonique  for  orchestra,  a  vio- 
lin concerto,  Op.  17.  B.  May  29,  1868, 
Paris;   add.  London. 

Ernani.  Giuseppe  Verdi's  four-act 
opera,  founded  on  Victor  Hugo's  great 
play,  was  first  performed  at  Venice, 
1844.  The  police  of  that  city  com- 
pelled the  composer  to  change  the 
conspiracy  scene,  and  at  the  Paris 
production  Hugo  insisted  that  the 
whole  story  be  changed;  but  as  now 
produced  it  follows  the  Hugo  play  in 
detail.  Ernani,  a  duke  turned  bandit, 
loves  Elvira,  ward  of  Don  Gomez  de 
Silva.  Don  Carlos  of  Spain,  after- 
wards the  Emperor  Charles  V,  like- 
wise loves  the  lady.  Sylva,  too,  loves 
Elvira,  and  when  she  is  carried  off 
by  the  king,  Silva  and  Ernani  plot 
vengeance.  Ernani  had  been  chal- 
lenged by  Silva,  but  agreed  if  that 
noble  would  join  him  in  his  plot,  to 
kill  himself  whenever  Silva  should  give 
the  signal  by  blowing  his  horn.  Don 
Carlos  is  aware  of  the  conspiracy,  and 
captures  the  conspirators,  whom  he 
condemns  to  death.  Wishing  to  die 
as  befits  a  noble,  Ernani  announces  his 
rank  and  titles,  whereupon  Don  Carlos 
pardons  him.  The  union  of  Ernani  and 
Elvira  is  arranged,  but  in  the  midst 
of  the  wedding  festivities,  Silva  sounds 
his  horn,  and  Ernani,  faithful  to  his 
word,  goes  forth  to  death.  The  prin- 
cipal musical  numbers  are:  Act  I: 
"  Allegri  beviami,"  chorus ;  "  Come  ru- 
giada  al  cespite,"  Ernani ;  "  Dell'  esi- 
lio  nel  dolore,"  Ernani ;  "  Ernani,  in- 
volami,"  Elvira ;  "  Tutto  sprezzo  che 
d'Emaai,"  Elvira;  "Bella  come  un 
prime   amore,"   Don   Carlos ;    "  Fiero 


sangue  d'Aragona,"  Don  Carlos ;  "  In- 
felice!  e  tuo  credevi,"  Silva;  Act  II: 
"  Ah !  morir  potessi  adesso !  "  Ernani 
and  Elvira;  "La  vendetta  piu  tre- 
menda,"  Ernani  and  Elvira;  "  In  arci- 
one,  cavalieri,"  Ernani  and  Silva; 
"  Pronti  vedi  11  tuoi  cavalieri,"  chorus; 
Act.  Ill:  "  Gran  Dio!  eosto  sui  sepol- 
crali  marmi,"  Don  Carlos;  "  Si  ridesti 
il  Leon  di  Castiglia,"  chorus ;  "  0 
Sommo  Carlo,"  sextet  and  chorus ;  Act 
IV :  "  O  come  felice,"  chorus ;  "  Ces- 
saro  i  suoni,"  Elvira  and  Ernani;  and 
"  Per  noi  d'amore  il  talamo,"  Elvira 
and  Ernani. 

Ernst  (Alfred)  translated  "Der 
Ring  des  Nibelungen "  and  "  Die 
Meistersinger  "  into  French ;  wrote  re- 
views and  books  on  music.  B.  April 
9,  1860,  Perigueux;  d.  Paris,  May  15, 
1898. 

Ernst  (Heinricta.  Wlllielm)  became 
one  of  the  most  celebrated  of  violin 
virtuosi,  playing  throughout  Euiope 
from  1832  to  1850,  having  followed 
Paganini  through  Germany  as  a  boy 
to  study  his  technique;  composed 
"Deux  Nocturnes,"  Op.  1;  "Elegie," 
Op.  10,  Fantasia  on  "Otello,"  Op.  11; 
"  Concertino,"  Op.  12 ;  "  Polonaise  de 
concert,"  Op.  17;  concerto  pathetique 
in  F  sharp  minor,  Op.  23;  string  quar- 
tets in  B  flat  and  A;  Hungarian  airs. 
Op.  22.  B.  May  6,  1814,  Brunn,  Mo- 
ravia;   d.  Oct.  8,  1865,  Nice. 

Eroica.  Ludwig  van  Beethoven's 
third  symphony,  said  to  have  been 
suggested  by  Bemadotte,  when  ambas- 
sador at  Vienna,  consists  of  four  move- 
ments: Allegro  con  brio,  E  flat; 
Marcia  funebre;  Adagio  assai,  0 
minor;  Scherzo  and  Trio;  Allegro 
vivace,  E  flat;  Finale,  Allegro  molto, 
interrupted  by  a  Poco  Andante  ending 
in  a  Presto,  E  flat.  Its  original  title 
was  "  Bonaparte,"  but  when  the  First 
Consul  became  Emperor,  Beethoven,  a 
radical  at  heart,  tore  off  the  title  page, 
and  stamped  on  it.  On  publication 
the  composer  inscribed  it :  "  Sinfonia 
eroica  composta  per  festeggiare  il  sov- 
venire  di  un  grand'  uomo  dedicata  a 
Sua  Altezza  Serenissima  il  Principe 
di  Lobkowitz  da  Luigi  van  Beethoven. 
Op.  55.  No.  111.  Partizione."  Bee- 
thoven was  at  work  upon  this  sym- 


EBST 


188 


ESTRAVAGANZA 


phony  during  the  summer  of  1803,  but 
the  first  performance  took  place  in 
Dec,  1804. 

Erst.     Ger.    First. 

Ersterben.'    Ger.    To  die  away. 

Erweitert.  Ger.  Augmented,  am- 
plified, extended. 

Es.    Ger.    E  flat. 

Esatto.    It.    Exact,  strict. 

Escudier  (Marie)  wrote  with  his 
brother  Leon  "  Rossini,  sa  vie  et  ses 
ceuvres,"  Paris,  1854,  published  music, 
including  Verdi's  operas,  founded  La 
France  Musicale,  1838,  for  which  both 
wrote  until  1862,  when  they  dissolved 
partnership,  and  Marie  directed  the 
older  paper  while  Leon  published 
"L'Art  musical."  B.  June  9,  1819; 
d.  April  17,  1880.  Leon  b.  Sept.  17, 
1821;  d.  June  22,  1881.  Both  were 
natives  of  Casternaudary. 

Es  Dur.     Ger.    Key  of  E  flat  major. 

Esecuzioue.    It.    Execution. 

Eses.     Ger.    E  double  flat. 

Eslava  (Miguel  Hilarion)  made  a 
valuable  collection  of  early  Spanish 
church  music,  published  as  "  Lira 
sacro-hispana,"  Madrid,  1869;  com- 
posed 140  pieces  of  church  music,  the 
operas  "  II  Solitario,"  "  La  Tregua  di 
Ptolemaide,"  and  "Pedro  el  Cruel"; 
chapelmaster  and  priest  at  Seville 
Cathedral  and  to  Queen  Isabella.  B. 
Oct.  21,  1807,  Burlada,  Navarre;  d. 
July  23,  1878,  Madrid. 

Esmeralda.  A.  Goring  Thomas's 
four-act  opera  to  book  based  on  Victor 
Hugo's  libretto  arranged  by  Theo 
Marzials  and  Alberto  Randegger,  was 
first  performed  Mar.  26,  1883,  at 
Drury  Lane  by  the  Carl  Rosa  Opera 
Company.  Victor  Hugo's  libretto  was 
written  for  the  French  composer 
LOUISE  ANGELIQUE  BERTIN  and 
composed  by  her. 

Es  Moll.  Ger.  Key  of  E  flat 
minor. 

Espace.     Fr.     Space  of  the  stave. 

Espagnuoldo,  a.  It.  In  Spanish 
style. 

Espirando.  It.  Dying  away,  ex- 
piring. 

Esposito  (Micliele)  composed  an 
Irish  symphony  which  won  the  Feis 
Ceoil  prize,  1902;  "  Deirdre,"  Feis 
Ceoil  prize  in  Dublin,   1397,  cantata 


for  soli,  chorus,  and  orchestra;  the 
operetta,  "  The  Postbag  " ;  sonata  for 
violin  and  piano;  songs,  chamber  mu- 
sic. B.  Sept.  29,  1855,  Castellammare, 
near  Naples;  pupil  Naples  Conserva- 
tory; became  teacher  of  piano.  Royal 
Irish  Academy  of  Music,  1882 ;  add. 
Dublin. 

Expressione,  con.  It.  With  ex- 
pression. 

Espresslvo.     It.     Expressive. 

Essential  Harmony  is  that  of  the 
tonic,  dominant,  or  subdominant. 

Essential  Notes  are  those  belong- 
ing to  a  key  chord. 

Esser  (Helnrich.)  composed  40 
books  of  lieder,  the  operas  "  Silas," 
"Riquiqui,"  and  "Die  beiden  Prinzen"; 
chapelmaster  Imperial  Opera,  Vienna. 
B.  July  15,  1818,  Mannheim;  d.  June 
3,  1872,  Salzburg. 

Essipoff  (Annette)  played  piano 
in  concert  in  Europe  and  America; 
pupil  of  Theodor  Leschetitzky,  whom 
she  m.  1880.  B.  Feb.  1,  1850,  St. 
Petersburg;  court  pianist  and  teacher 
St.  Petersburg  Conservatory,  1893; 
add.  St.  Petersburg. 

Este  (Thomas)  published  music  in 
England,  1587,  to  his  death,  1609, 
when  Thomas  Snodham  succeeded  to 
the  business.  "  The  Whole  Booke  of 
Psalmes,"  1592,  was  his  most  impor- 
tant publication.  Michael  composed 
madrigals,  "Ayerie  Fancies  of  four 
parts  "  that  could  be  sung  or  played; 
master  of  choristers,  Litchfield  Cathe- 
dral. The  three-part  madrigal  "  How 
merrily  we  live  "  is  still  sung.  Prob- 
ably son  of  THOMAS.    B.  London. 

Este  was  the  seat  of  two  musical 
academies  in  the  loth  century,  and  for 
a  time  the  home  of  JOSQUIN.  GUIDO 
IVAREZZO  was  a  native  of  Pomposa 
in  the  territories  of  the  Dukes  of  Este, 
who  were  famous  as  patrons  of  music. 

Esther.  George  Frederick  Handel's 
first  English  oratorio  was  composed 
to  book  by  S.  Humphreys,  based  on 
Racine's  play.  The  Duke  of  Chandos 
paid  Handel  $5000  for  it,  and  it  was 
first  performed  at  Cannons,  his  coun- 
try seat,  Aug.  29,  1720. 

Estinguendo,  Estinto.  It.  Dying 
away  or  diminishing. 

Estravaganza.     It.     Fanciful   or 


BSTR'EMAWEN'ril 


189 


ETTBYANTHE 


extravagant  in  composition  or  execu- 
tion. 

Estremamente.     It.     Extremely. 

Estro  Poetico.    It.    Poetic  fervour. 

Estwick  (Bev.  Sampson)  composed 
odes  for  the  Acts  at  Oxford ;  chorister 
as  a  child,  Eng.  Chapel  Royal.  B. 
1657;    d.  Feb.  16,  1739. 

Etendue.     Fr.     Extended. 

£toile  du  Nord.  Giacomo  Meyer- 
beer's three-act  opera  to  book  by 
Scribe,  based  on  the  incidents  already 
related  of  Peter  the  Great,  as  CZAAR 
UN'D  ZIMMERMANN,  was  first  per- 
formed Feb.  16,  1854,  at  the  Paris 
Opfira  Comique. 

Etouffe.     Fr.    Stifled  or  dampened. 

EtoufCoirs.    Fr.    Dampers. 

Etude.  Fr.  Exercise,  study  of 
lesson. 

Et  Vitam.  Part  of  the  CREDO  in 
the  MASS. 

Etwas.  Ger.  Somewhat;  Lang- 
sam,  rather  slow. 

Eugen  Oneg^n.  Peter  Ilyitch 
Tschaikowsky's  three-act  opera  to  book 
adapted  from  Poushkin  was  first  per- 
formed in  May,  1877.  Lenski  intro- 
duces his  friend  Onfigin  to  the  home 
of  Mme.  Levin,  to  whose  daughter 
Olga  he  is  engaged.  Her  sister  Tati- 
ana  falls  in  love  with  On€gin,  and  con- 
fesses her  feelings  in  a  letter,  but 
Onggin  only  feels  a  brotherly  aflfection 
for  her.  A  ball  is  given  in  honour  of 
Tatiana's  birthday  at  which  Onfigin 
fiirts  with  Olga.  A  quarrel  with  Len- 
ski follows,  there  is  a  duel  and  Lenski 
is  killed.  Five  years  later  in  St. 
Petersburg  Onfigin  again  meets  Tati- 
ana,  who  has  married  Prince  Gremin. 
This  time  he  falls  desperately  in  love 
with  the  woman  he  had  formerly  re- 
jected, and,  after  declaring  his  pas- 
sion, tries  to  induce  her  to  elope  with 
him.  She  admits  that  she  still  loves 
him,  but  leaves  him  forever  as  she 
does  so.  The  principal  musical  num- 
bers are:  Act  I:  "Hearest  thou  the 
Nightingale  ?  "  duo  for  Olga  and  Ta- 
tiana  based  on  a  folksong;  "I  have 
no  mind  for  languor  or  for  sadness," 
Olga ;  "  I  love  you,  Olga,"  Lenski ; 
"  Nay,  though  I  be  undone,"  Tatiana ; 
Act  II :  waltzes  and  mazourkas  for  the 
ball ;  "  My  days  of  youth,  where  have 


they  fled?"  Lenski;  Act.  Ill:  duo, 
Tatiana  and  Onfigin;  "Despised,  re- 
jected, 0  what  misery  is  mine," 
On€gin. 

Eulenstein  (Charles)  played  16 
Jew's  Harps  at  entertainments  in  Eng- 
land and  Scotland;  taught  guitar  and 
concertina  at  Bath.  B.  1802,  Heil- 
bronn,  Wfirtemberg;    d.  1890,  Styria. 

Euphonium.  Brass  valve  instru- 
ment corresponding  in  compass  with 
the  baritone  SAXHORN,  but  with  a 
louder  and  broader  quality  of  tone. 
It  does  not  blend  well  in  orchestra,  but 
is"  useful  in  brass  bands  as  a  solo 
instrument. 

Euphony.  Sweet  sound  or  a  con- 
cord of  sound. 

Euryanthe.  C.  M.  von  Weber's 
three-act  opera  to  book  by  Helmine 
von  Chezy,  was  first  performed  Oct.  25 
at  the  Karnthnerthor  Theatre,  Vi- 
enna, Oct.  25,  1823 ;  and  was  revived, 
with  alterations  and  omissions,  by 
Gustav  Mahler,  1904,  at  the  Imperial 
Opera,  Vienna.  Euryanthe  is  the  be- 
trothed of  Coxmt  Adolar,  who  sings 
her  praises  in  the  palace  of  King  Louis 
of  France  imtil  Count  Lysiart  sneer- 
ingly  declares  that  he  can  win  her 
love,  and  promises  the  proof  to  Adolar. 
The  scene  then  shifts  to  the  castle  of 
Nevers,  where  Euryanthe,  lamenting 
the  absence  of  Adolar,  reveals  to  her 
confidant  Eglantine  the  secret  of  a 
nearby  tomb.  Adolar's  sister  had 
killed  herself,  and  in  punishment  her 
ghost  must  roam  the  earth  until  the 
tears  of  injured  innocence  fall  upon 
her  ring.  Lysiart  fails  to  gain  the 
favour  of  Euryanthe,  but  Eglantine, 
who  loves  Adolar,  has  entered  the 
tomb  and  taken  away  the  dead 
woman's  ring,  which  she  gives  Lysiart, 
and  his  possession  of  the  jewel  is 
taken  by  Adolar  as  proof  of  Eury- 
anthe's  fault,  since  the  secret  was 
known  only  to  Euryanthe  and  himself. 
Adolar  takes  Euryanthe  into  the  des- 
ert, meaning  to  kill  her,  but  they  are 
attacked  by  a  serpent,  and,  after  kill- 
ing the  monster,  Adolar  decides  to 
leave  her  to  her  fate.  King  Louis  finds 
her  alone  in  the  wilderness,  and  she 
tells  him  the  story  of  Eglantine's 
treachery.    Adolar,  who  has  begun  to 


EVACXJANT 


190 


EXTEMPORE 


suspect  that  Euryanthe  was  the  vic- 
tim of  a  plot,  goes  to  Nevers  to  punish 
Lysiart,  and  meets  a  procession  in 
honour  of  his  wedding  with  Eglantine. 
He  challenges  Lysiart,  but  before  they 
fight  the  King  enters,  announcing  the 
death  of  Euryanthe.  At  this  Eglantine 
declares  her  love  for  Adolar,  but  Ly- 
siart stabs  her,  and  a  moment  later 
Euryanthe,  who  is  not  dead,  but  had 
merely  fainted,  appears  to  claim  her 
lover,  while  Lysiart  is  led  away  to 
punishment.  The  principal  musical 
niunbers  are :  Act  I :  "  Dem  Frieden 
Heil,"  chorus;  "  Unter  bluhenden 
Mandelbaumen,"  Adolar ;  "  Wohlam ! 
du  kennst,"  Adolar,  Lysiart  and  the 
King;  "GlScklein  im  Thale,"  Eury- 
anthe ;  "  O  mein  Leid  ist  unermessen," 
Eglantine ;  "  Unter  ist  mein  Stern  ge- 
gangen,"  Euryanthe  and  Eglantine; 
"  Frohliche  Klange,"  Euryanthe  and 
chorus ;  Act  II :  "  Wo  berg  ieh  mieh," 
Lysiart;  "  Komm  denn  unser  Leid 
zu  rachen,"  Lysiart  and  Eglantine; 
"Wehen  mir  Lufte  Ruh,"  Adolar; 
"  Lass  mich  empor  zum  Liehte,"  quar- 
tet and  chorus ;  Act  III :  "  Hier  am 
Quell  wo  Weiden  stehn,"  Euryanthe; 
"  Die  Thale  dampfen,"  chorus ;  "  Lasst 
mich  hier  in  Ruh'  erblassen,"  the 
King,  Euryanthe,  and  chorus ;  "  Zu 
ihm,"  Euryanthe. 

Evacuant.  Q-er.  Exhaust  valve  in 
organ  or  other  instrument. 

Evacuatio.  L.  In  ancient  nota- 
tion reducing  the  valuation  of  a  black 
note  one  half  by  writing  only  its 
outline. 

Evans  (Charles  Smart)  composed 
"  Great  Bacchus,"  "  Beauties  have  you 
seen  a,  toy,"  and  other  highly  popular 
glees  and  songs;  sang  in  Eng.  Chapel 
Royal.  B.  1778;  d.  Jan.  4,  1849, 
London. 

Eveille.     Fr.     Sprightly. 

Evers  (Carl)  composed  four  piano 
sonatas  and  played  and  taught  that 
instrument;  chapelmaster  at  Gratz, 
1841-72.  B.  April  8,  1819,  Hamburg; 
d.  Vienna,  Dec.  31,  1875. 

Evolutio.  L.  The  working  out  of 
a  theme. 

Evovae.  Technical  word  formed 
by  vowels  in  "  Seculorum  Amen  "  with 
which  the  Gloria  concludes,  employed 


to  indicate  the  close  of  the  tone  on 
which  the  antiphon  had  been  chanted. 

Ewer  &  Co.  sold  music  in  London 
from  1824  until  1867  when  merged  in 
the  house  of  NOVELLO,  EWER  &  CO. 

Exercise.  Practice  for  the  purpose 
of  acquiring  skill;  the  composition  in- 
tended for  that  purpose;  thesis  or 
composition  required  of  candidates  for 
degrees  in  music  at  the  universities. 

Eximeneo  (Antonio)  wrote  "Dell' 
origine  della  musica,  coUa  storia  de 
suo  progresso,  decadenza,  e  rinnova- 
zione,"  1774,  which  contains  germs  of 
the  theories  afterwards  elaborated  by 
Wagner,  and  which  aroused  a  con- 
troversy along  similar  lines;  Jesuit, 
settled  in  Rome  on  expulsion  of  his 
order  from  Spain.  B.  Balbastro,  Arra- 
gon,  1732;    d.  Rome,  1798. 

Expert  (Henri)  wrote  "Les  Mat- 
tres  Musiciens  de  la  Renaissance  fran- 
caise,"  taught  in  the  "  :ficole  nationale 
de  musique  classique,"  and  founded 
"  Socigte  d'etudes  musicales  et  de  con- 
certs historiques."  B.  May  12,  1863, 
Bordeaux;    add.  Paris. 

Exposition  is  the  statement  or  pres- 
entation of  the  subjects  in  FUGUE; 
or  in  forms  of  harmonic  order,  the 
first  half  of  a  movement  in  Binary 
form,  which  usually  contains  two 
principal  subjects. 

Expression  is  the  soul  of  musical 
art  as  it  is  of  oratory  and  declamation. 
Expression  marks  aid  in  conveying  an 
idea  of  the  composer's  meaning,  but 
the  ability  to  interpret  that  meaning, 
whether  so  indicated  or  not,  is  the 
highest  test  of  the  artist  as  distin- 
guished from  the  mere  mechanical  mu- 
sician or  time-beater. 

Expression  Stop  shuts  oflf  the 
waste  valve  in  the  bellows  of  har- 
moniums ;  thus  enabling  the  performer 
to  control  the  volume  of  tone  pro- 
duced by  means  of  the  wind  pedals. 

Extempore  Playing  is  the  art  of 
improvising  music  at  the  time  of  per- 
formance. Since  it  implies  both  com- 
plete mastery  of  the  instrument  em- 
ployed and  of  the  science  of  music,  it 
need  hardly  be  added  that  the  great 
composers  such  as  Bach,  Beethoven, 
Mozart  greatly  excelled  in  extem- 
porizing. 


EXTEUCFOBIZE 


191 


FALCON 


Extemporize.     To  play  extempore. 

Extended  Compass.  That  which 
ranges  beyond  the  ordinary  compass 
of  a  voice  or  instrument. 

Extended  Harmony.  Dispersed 
HARMONY. 

Extraneous  Modulation.  Modu- 
lation to  an  extreme  or  unrelated  key. 

Extravaganza.  Burlesque  or  cari- 
cature in  music. 

Extreme.  Highest  and  lowest  parts 
in  music;  augmented  intervals;  keys 
not  closely  related;  keys  having  more 
than  three  sharps  or  flats  in  the 
signature. 

Extreme  Sixth.  Chord  which  con- 
tains the  interval  of  an  augmented 
sixth  either  directly  of  by  in- 
version. 

Eybler,  Edler  von  (Joseph)  com- 
posed the  opera  "  L'Epee  enehantee," 
Vienna,  1790,  oratorios,  symphonies, 
chamber  music,  seven  masses,  two  Te 
Deums,  and  other  church  music  in  all 
forms;  friend  of  Haydn,  Mozart's 
nurse  in  his  last  illness,  ennobled  by 
the  Emperor,  1834;  chief  chapelmaater 
at  the  court  of  Vienna.  B.  Feb.  8, 
1765,  Sehwechat,  near  Vienna;  d.  July 
24,  1846,  Schonbrunn. 


F  is  the  fourth  tone  in  the  natural 
scale  of  C;  the  name  of  the  major 
key  having  B  flat  as  its  signature,  of 
which  B  is  the  relative  minor;  of  the 
minor  key  having  four  flats  to  its 
signature,  relative  to  A  flat;  of  the 
bass  clef,  the  sign  of  which  is  cor- 
rupted from  F;  of  the  soundholes  in 
violins,  so  called  from  their  shape. 
F  is  the  usual  abbreviation  of  forte. 
F  is  the  final  of  the  Lydian  church 
MODE  with  0  as  its  dominant. 

Fa  is  the  syllable  which  stands  for 
F  in  solmisation,  and  is  the  name  of 
F  in  French  and  Italian. 

Fa  Bemol.     Fr.    F  flat. 

Fablier.     Provencal  for  trouveur. 

Fabri  (Annibale  Pio)  sang  ten.  in 
opera  under  Handel;  called  Balino. 
B.  1697,  Bologna;  d.  Aug.  12,  1760, 
Lisbon. 

Fabricius  (Werner)  composed 
dance  music,  songs  with  figured  bass, 
and  church  music;    organist  at  the 


Nicolaiikirche,  Leipsic.  B.  1633;  d. 
April  9,  1679. 

Fabritius  (AlbinUs)  composed 
church  music;  lived  in  Gorlitz,  Prus- 
sia, 16th  century. 

Faburden  meant  originally  a  har- 
mony consisting  of  thirds  and  sixths 
added  to  cantus  firmus,  but  when  coun- 
terpoint superseded  both  organum  and 
discant  the  term  was  retained  to  in- 
dicate a  variety  of  counterpoint,  gen- 
erally of  note  against  note. 

Faccio  (Franco)  conducted  the 
first  European  performance  of  "  Aida," 
Milan,  1872;  taught  harmony  in 
Milan  Conservatory ;  composed  "  Le 
Sorelle  d'ltalia "  and  other  operas. 
B.  Mar.  8,  1840,  Verona;  d.  July  23, 
1891,  Monza. 

Faces  d'un  Accord.  Fr.  Posi- 
tions or  inversions  of  a  chord. 

Fach.  Qer.  Rank,  as  a  rank  of 
organ  pipes. 

Facile.       Fr.     Easy. 

Facilement.     Fr.    Easily. 

Facilita.    It.  Facility  in  execution. 

Facilite.     Fr.    Facility. 

Facilment.    It.    Easily. 

Fackeltanz.  Music  in  4-4  time  for 
ceremonial  torchlight  processions  at 
some  German  courts. 

Facture.  Fr.  Construction  of  mus- 
ical composition;  measurement  or 
scale  of  organ  pipes. 

Fa  Diese.     Fr.    F  sharp. 

Fa  Fictum.  In  the  HBXA- 
CHORDAL   system  was   B   flat. 

Fagottista.     It.     Bassoon  player. 

Fagotto.     It.    BASSOON. 

Fagottone.  It.  DOUBLE  BAS- 
SOON. 

Faignient  (Noe)  composed  part 
songs  and  motets,  Belgium,  16th 
century. 

Faisst  (Immanuel  Oottlob  Fried- 
rich)  helped  found  the  Stuttgart  Con- 
servatory, of  which  he  became  direc- 
tor; played  organ;  composed  choral 
works.  B.  Oct.  13,  1823,  Esslingen, 
WUrtemberg;  d.  June  5,  1894,  Stutt- 
gart. 

Falcon  (Marie  Comelie)  sang  sop. 
iff  opera;  debut  1832  to  1840,  highly 
esteemed  in  Paris.  B.  Jan.  28,  1812; 
pupil  of  the  Paris  Conservatoire;  d. 
Feb.  26,  1897. 


FA  LA 


192 


EABINELI.I 


Pa  La.  Syllables  used  as  refrain 
of  old  songs. 

Fall.     CADENCE. 

Falsa  Musica.  L.  Music  in  which 
accidentals  were  introduced  was  an- 
ciently so  called. 

False  Fifth.     Imperfect  FIFTHS. 

False  lutonatiou.  Tones  sung  or 
played  off  key. 

False  Belation.  The  appearance 
together  or  near  together  of  the  same 
notes  altered  by  accidentals. 

Falsetto.  The  third  and  uppermost 
register  of  male  or  female  voices,  such 
as  that  of  the  male  countertenor,  so 
called  because  it  was  thought  to  be 
unnatural.  Falsetto  singers  were  em- 
ployed at  an  early  date  in  the  Sistine 
Chapel  choir,  displaced  by  the  voce 
d'fivirato,  and  again  restored. 

Falso  Bordone.    It.    FABURDEN. 

FalstafE.  Michael  William  Balfe's 
two-act  Italian  opera,  to  book  by 
Maggioni,  was  first  performed  July 
19,  1838,  in  London.  Giuseppe  Verdi's 
three-act  opera,  to  book  by  Boito,  was 
first  performed  at  La  Scala,  Milan, 
Feb.  9,  1893.  "  The  Merry  Wives  of 
Windsor  "  and  "  Henry  IV  "  are  ad- 
mirably blended  in  the  libretto,  but 
the  story  of  the  Merry  Knight's  ad- 
ventures is  too  well  known  to  be  re- 
peated here.  The  original  caste  was: 
Mistress  Ford,  Signora  Zilli;  Nan- 
netta,  Mme.  Stehle;  Fenton,  Garbin; 
Dr.  Caius,  Paroli;  Pistola,  Arimondi; 
Mistress  Page,  Signora  Guerrini ;  Mis- 
tress Quickly,  Signora  Pasqua;  Ford, 
Pini-Corsi ;  Bardolfo,  Pelagalli-Ros- 
setti;  Falstaff,  Maurel.  The  princi- 
pal musical  numbers  are :  "  Falstafl's 
Letter,"  Mistress  Ford ;  "  He  '11  surely 
come  courting,"  a.  capella  quartet  for 
women;  "  He  's  a  foul,  a  ribald  Thief," 
male  quartet;  Act. 'II:  "Do  I  dream, 
or  is  it  reality?"  Ford;  " 'T  was  at 
the  Garter  Inn,"  Mistress  Quickly; 
"  Once  I  was  Page  to  the  Duke  of 
Norfolk,"  Falstaff;  Act  III:  "Ho! 
landlord!"  Falstaff;  "From  those 
sweet  lips  a  Song  of  Love  arises," 
Fenton ;  "  While  we  dance  in  the 
Moonlight,"  Nannetta. 

Famitsin  (Alexander  Sergeivich) 
composed  the  unsuccessful  opera  "  Sar- 
danapalus,"  "  Songs  for  Eussian  Chil- 


dren," chamber  music;  wrote  criti- 
cisms attacking  the  "  New  Russian 
school."  B.  1841,  Kalouga;  d.  July 
6,  1896,  St.  Petersburg. 

Fancies.     FANTASIA. 

Fandango.  Graceful  Andalusian 
dance  in  3-4  time  to  accompaniment 
of  guitar,  castanets,  and  sometimes 
the  tambourine. 

Fanfare.  Fr.  Flourish  of  trum- 
pets. 

Faning  (Eaton)  composed  the  four- 
part  chorus  "  Song  of  the  Vikings," 
symphony  in  C  minor;  church  music, 
two  operettas;  conducted  and  taught 
in  Royal  College  of  Music,  London. 
B.  May  20,  1850;    add.  London. 

Faniska.  M.  Luigi  C.  Z.  S.  Cher- 
ubini's  three-act  opera,  to  book  by 
Sonnleithner,  was  first  performed  Feb. 
25,  1806,  at  the  Karnthnerthor  Thea- 
tre, Vienna. 

Fantaisie.    Fr.    Fantasia. 

Fantasia.  Composition  in  which 
form  is  subordinate  to  fancy. 

Fantasiestiick.  Ger.  Fanciful 
compositions. 

Fantasiren.  Ger.  To  improvise 
or  play  as  fancy  suggests. 

Fantasticamente.  /*.  Fantastic- 
ally. 

Fantastiqiie.    Fr.    Fantastic. 

Farandole.  Popular  Provencal 
round  dance  in  6-8  time. 

Farce.  Originally  a  satirical  song 
introduced  at  the  Christmas  festivi- 
ties, the  term  is  now  applied  to  short 
dramatic  pieces  of  the  burlesque  type. 

Farinelli.  John  Barnett's  two-act 
opera,  to  book  by  C.  Z.  Barnett,  was 
first  performed  Feb.  8,  1839,  at  Drury 
Lane,  London. 

Farinelli  (Carlo  Brosclii)  became 
the  most  celebrated  of  all  sopranists, 
the  favourite  of  Philip  V  of  Spain, 
whose  melancholy  he  charmed  away 
by  singing  as  David  had  done  with 
Saul;  Knight  of  Calatrava  and  St. 
lago.  A  pupil  of  Porpora,  he  sang  in 
boyhood  at  the  principal  opera  houses 
in  Italy  and  at  Vienna;  joined  Por- 
pora in  the  London  opposition  to 
Handel,  1734,  where  he  sang  three 
seasons  at  about  $25,000  per  annum; 
returned  to  Italy,  building  a  mansion, 
which    he    called    "English    Folly"; 


FABINELLI                  193  FASCIA 

went  to  Madrid,  1736,  where  he  re-  anthems  "  Call  to  remembrance  "  and 
mained  25  years,  wielding  higher  "  Hide  not  Thou  Thy  face " ;  sang 
power  than  the  ministers  under  Philip  in  Eng.  Chapel  Royal ;  master  of 
VI,  although  not  in  office;  returned  children  at  St.  Greorge's  Windsor.  B. 
to  Italy  after  accession  of  Charles  III ;  England,  16th  century.  Daniel  corn- 
lived  in  magnificent  retirement  near  posed  for  organ  and  viol ;  played  viol 
Bologna,  where  he  collected  pictures,  in  king's  band,  1606-1625.  B.  Eng- 
harpsichords,  and  viols,  and  enjoyed  land;  son  of  RICHARD, 
friendship  of  Padre  Martinelli,  to  Tarrar  (Geraldine)  sang  sop.  in 
whom  he  had  previously  suggested  opera,  debut,  Berlin  Royal  Opera, 
writing  a  "  History  of  Music."  B.  Marguerite  in  "  Faust "  at  19, 
Jan.  24,  1705,  Naples;  probably  as-  Metropolitan  Opera  House,  New  York, 
siuned  the  name  of  his  uncle  CRIS-  1906,  as  Juliette  in  "Romeo  et 
TIANO  FARINELLI;  d.  July  15,  Juliette,"  and  later  in  such  r61es  as 
1782.  Elizabeth,   Mimi,   Nedda,   Mme.   But- 

Farinelli      (Cristiano)      composed  terfly;      under    contract    with    both 

the  cantata  "  Lord,  remember  me  when  houses  in   1908 ;   pupil  of   Lilli  Leh- 

thou  comest  into  Thy  kingdom,"  when  mann.    B.  Melrose,  Mass.,  1880;    add. 

the    Elector    of    Hanover,    to    whose  New  York  and  Berlin, 

household   he    was    attached,   became  Farrenc  (Jacques  Hippolyte  Aris- 

George  I  of  England;    later  ennobled  tide)  composed  for  flute  and  wrote  on 

by  the  King  of  Denmark,   and  "  re-  musical    topics.      B.    April    9,    1794, 

membered "  by  George  I,  who  made  Marseilles;    d.  Jan.  31,   1865,  Paris, 

him  his  representative  at  Venice.    B.  Louise    compiled    "  Tresor   de    Pian- 

Italy,    uncle    of    CARLO    RROSCHI  ists,"    an    anthology   beginning   with 

FARINELLI.  early  composers  for  harpsichord  and 

Eariuelli   (Giuseppe)    composed   a  piano    and   coming   down   to   Chopin 

mass,  Stabat  Mater,  58  operas ;  chapel-  and  Weber ;  composed  two  symphonies 

master  at  Trieste,   1819.     B.  May  7,  and  chamber  music;    taught  piano  in 

1769,  Este;    d.  Trieste,  Dec.  12,  1836.  Paris    Conservatoire;    sister    of    the 

Farmer    (John)    composed   madri-  sculptor  Dumont  and  aunt  of  ERNEST 

gals,  church  music ;   wrote  on  counter-  REYER.     B.   Paris,   May   31,    1804; 

point;    contributed  to  Thomas  Este's  m.  J.  H.  A.  FARRENC;    d.  Sept.  15, 

"  Whole  Booke  of  Psalmes."    B.  Eng-  1875. 

land;     publications     between     1591-  Farsa.     L.    Interpolations  between 

1601.  the  sentences  of  a  Kyrie  or  Gloria. 

Farmer  (John)  composed  the  ora-  Fasoh.  (Johann)  composed  orches- 
torio  "  Christ  and  his  Soldiers,"  1878;  tral  suites,  church  music;  founded  a 
Cinderella,  fairy  opera,  1882;  played  collegium  musicum  at  Leipsio  of  which 
organ  and  founded  concerts  at  Balliol  the  Gewandhaus  concerts  are  the  out- 
College,  Oxford.  B.  Nottingham,  Aug.  growth;  declined  to  compete  against 
16,  1836;    d.  July  17,  1901,  Oxford.  J.  S.  Bach  for  the  cantorship  of  the 

Farmer  (Thomas)  composed  music  Thomasschule ;  chapelmaster  at  Zerbst. 
for  "The  Princess  of  Cleve,"  1682,  B.  April  15,  1688,  Buttelstedt,  Wei- 
songs,  and  dramatic  music.  B.  Eng-  mar;  d.  Dec.  5,  1768,  Zerbst.  Carl 
land;  graduated  as  Mus.  Bac,  Ox-  Friedrich  Christian  composed  "  Giu- 
ford,  1684.  seppe  rioonosciuto,"  oratorio;    church 

Famaby  (Giles)  composed  for  vir-  music,  canons;  founded  the  Berlin 
ginals,  voice,  collaborated  in  Thomas  Singakademie ;  played  acoompani- 
Este's  "  Whole  Booke  of  Psalmes."  B.  ments  with  C.  P.  E.  Bach  to  Fred- 
England,  16th  century.  erick  the  Great;    entertained  Beetho- 

Farrant    (John)    played   organ   in  ven    at    Berlin.      B.    Nov.    18,    1736, 

English    churches    and    at    Salisbury  Zerbst;    son  of  JOHANN;    d.  Aug.  3, 

Cathedral,    1598-1602;     composed   an  1800. 

Anglican  service.  Fascia.    /*.    Tie  or  bind;    sides  of 

Farrant   (Bichard)   composed  the  a  viol. 

13 


FASTOSO 


194 


FAUST 


FastoBo,  Fastosamente.  It. 
Proudly,  haughtily. 

Fattura.    /*.    FACTURE. 

Faure  (Gabriel  Urbain)  became 
director  of  the  Paris  Conservatoire, 
June,  1905,  in  succession  to  Theodore 
Dubois;  composed;  organist  at  the 
Madeleine,  1896.  Pupil  of  Nieder- 
meyer,  Dietsch  and  Saint- Saens;  he 
became  organist  of  St.  Sauveur.Rennes, 
1866;  returned  to  Paris  four  years 
later  as  assistant  at  St.  Sulpice,  then 
became  organist  at  St.  Honore,  chapel- 
master  at  the  Madeleine;  professor 
of  composition  at  the  Conservatoire; 
inspecteur  des  Beaux  Arts,  1892.  His 
principal  compositions  include :  "  Le 
Po6me  d' Amour,"  "  Apr6s  un  rgve," 
"  Les  Roses  d'Ispahan,"  "  Cantique  de 
Racine,"  "  En  Pri6re,"  violin  sonata. 
Berceuse  and  Romance  for  violin  with 
orchestra,  Elegie  for  'cello;  two  quar- 
tets for  piano  and  strings,  two  quar- 
tets for  strings,  violin  concerto,  or- 
chestral suite,  "  Choeur  dea  Djinns," 
symphony  in  D  minor,  "  L'Organiste," 
one-act  opera ;  a  Requiem ;  "  La  Nais- 
sance  de  Venus,"  for  chorus,  Madrigal 
for  four  voices  and  orchestra,  "  Pa- 
vane  "  for  orchestra  and  chorus ;  five 
melodies  to  Verlaine's  poems;  piano 
quintet,  "  La  Bonne  Chanson,"  nine 
songs  to  Verlaine's  verses;  music  to 
the  plays  "Caligula,"  "  Shylock," 
"  Pellgas  et  Melisande,"  "  Prom6th6e." 
B.  Pamiers,  Ari6ge,  May  13,  1845; 
add.  Paris. 

Faure  (Jeane  Baptiste)  sang  bar. 
in  opera ;  debut  Paris  Op6ra  Comique, 
1852,  principal  rSles  at  the  Opfira  17 
years,  Covent  Garden  and  Drury  Lane, 
London,  Brussels,  Vienna,  Berlin; 
taught  Paris  Conservatoire;  inspector 
at  Brussels  Conservatory,  1872;  com- 
posed two  books  of  songs;  retired 
1880.  B.  Jan.  15,  1830,  Moulins;  m. 
Mile.  Lefebvre;   add.  Paris. 

Fausse  Corde.    Fr.    False  string. 

Fausset.     Fr.     FALSETTO. 

Faust.  Charles  Gounod's  five-act 
opera,  to  words  by  Barbier  and  Carrg, 
founded  on  the  first  part  of  Goethe's 
greatest  work,  was  first  sung  at  the 
Theatre  Lyrique,  Paris,  Mar.  19,  1859, 
and  still  ranks  with  the  most  popular 
in  modern  repertoire.  -Faust  is  repre- 


sented as  an  old  man  regretting  the 
untasted  joys  of  youth  after  a  life 
spent  in  study.  Mephistopheles  offers 
to  renew  his  youth  and  to  serve  him 
through  life,  provided  Faust  becomes 
his  servant  thereafter.  Charmed  by 
the  vision  of  Marguerite,  a  lovely  vil- 
lage maid,  Faust  drinks  the  potion 
Mephistopheles  has  prepared,  and  in 
the  guise  of  a  young  and  handsome 
cavalier  sets  off  for  the  kermess  at 
which  he  is  to  meet  her.  Valentin, 
who  is  going  to  the  wars,  gives  his 
sister  Marguerite  a  tender  warning  of 
farewell,  but  after  his  departure  Meph- 
istopheles, by  means  of  a  message 
he  pretends  to  bear  to  Martha  from 
her  husband,  who  has  been  killed  in 
battle,  introduces  Faust  to  Marguer- 
ite, and  by  making  love  to  the  foolish 
old  woman,  leaves  them  together. 
Siebel,  a  lad  of  Marguerite's  own  rank, 
endeavours  to  protect  her,  but  is  help- 
less against  the  gallantry  and  gener- 
osity of  Faust,  whose  present  of  jewels 
arouses  the  maiden's  consciousness  of 
her  own  beauty.  When  Valentin  re- 
turns from  the  wars  he  finds  Mephis- 
topheles singing  a  mocking  serenade 
beneath  the  window  of  his  sister, 
whose  name  had  become  a  by-word  to 
the  neighbours.  Valentin  fights  with 
Faust,  whose  sword,  directed  by  Me- 
phistopheles, strikes  him  down.  The 
dying  Valentin  curses  Marguerite. 
Overcome  with  horror,  forsaken  by 
friends,  and  dreading  to  meet  Faust, 
Marguerite  seeks  refuge  in  a  church. 
Even  in  these  holy  surroundings  evil 
spirits  jibe  at  her.  In  despair  she 
kills  her  child,  and  is  thrown  into 
prison.  There  Faust  sees  her  in  a 
vision  while  revelling  with  Mephis- 
topheles in  the  Brocken's  Walpurgis, 
and  demands  that  Mephistopheles  re- 
turn with  him  and  rescue  her.  Mar- 
guerite, condemned  to  death,  though 
mad,  shrinks  away  from  Faust  on  see- 
ing his  companion,  and  prays  to  God 
for  his  pardon  and  her  own.  The 
prayer  is  granted.  A  final  tableau 
reveals  Marguerite  in  Heaven,  pray- 
ing for  her  lover.  Mephistopheles 
sinks  before  the  angelic  host,  and 
Faust  kneels  to  beg  forgiveness.  The 
original  caste  was:  Faust, Barbot, ten. ; 


EAXTX  BOURDON 


195 


FELD    FLOTE 


Meflstofele,  Balanque,  bass;  Valentin, 
Regnal,  bar.;  Wagner,  ten.;  Siebel, 
Mile.  Faivre,  mez.  sop.;  Marguerite, 
Mme.  Miolan  Carvalho,  sop.;  Martha, 
Mme.  Duclos,  con.  The  principal  mu- 
sical numbers  in  the  opera  are :  Act  I : 
"  Interrego  ivano,"  Faust;  "Ma  il 
ciel,"  Faust  and  Mephistopheles.  Act 
II:  "O  santa  medaglia,"  Valentin; 
"  Dio  del'  or,"  Mephistopheles ;  "  Tu 
puovi  la  spada"  and  "Come  la  brezza," 
chorus.  Act  III:  "La  parlate  d'amor" 
(Flower  song),  Siebel;  "Salve  dimora, 
casta  e  pura,"  Faust ;  "  Cera  un  re 
di  Tliule  "  and  "  Ah !  e  strano  poter  " 
(Jewel  Song),  Marguerite;  "V'oppo- 
giato  al  bracchio  mio,"  quartet ;  "  Sem- 
pre  amar,"  Faust  and  Marguerite. 
Act  IV:  "  Naseose  eran,"  Marguerite; 
"  Deponiam  il  brando,"  chorus ;  "  Tu 
che  fai  1'  addormentata,"  Mephis- 
topheles; "Margherita!  Maladeta!  " 
Valentin.  Act  V :  "  Penetrato  e  il 
mio  cor,"  Faust;  "  Pur  fra  il  riso  bef- 
fardo,"  Marguerite;  "O  del  ciel  an- 
geli,"  Marguerite. 

Faux  Bourdon.    Fr.    FABURDEN. 

Favorita.  Gaetano  Donizetti's 
four-act  opera  to  book  by  Royer  and 
Waetz,  based  on  the  French  play  "  Le 
Comte  de  Coramingues,"  was  first  per- 
formed Dec.  2, 1840,  at  the  Paris  Acade- 
mic Royale.  Fernando,  a  novice  in  the 
monastery  of  St.  James  of  Compo- 
stella,  falling  in  love  with  Leonora, 
whom  he  has  seen  worshipping  in  the 
church,  confesses  his  passion  to  Baltha- 
sar,  who  sends  him  into  the  world.  Leo- 
nora, the  favourite  of  Alfonso,  King 
of  Castile,  who  is  threatened  with  ex- 
communication because  of  her,  gives 
Fernando  a  commission  in  the  army, 
and  he  goes  to  win  honours  for  her 
sake,  not  knowing  her  relations  with 
the  king.  In  the  second  act  the  ex- 
communication is  pronounced  by  Bal- 
thasar,  and  in  the  next  act  when 
Fernando. returns  from  victories  over 
the  Moors,  Alfonso  loads  him  with 
honours,  and,  finding  Leonora  loves 
him,  arranges  for  their  marriage. 
Leonora  sends  her  confidant  Inez  to 
tell  Fernando  everything,  but  the  king 
intercepts  her,  the  marriage  is  hast- 
ened, and  Fernando  only  learns  the 
truth  after  the  ceremony.    He  returns 


to  the  monastery.  Leonora  follows 
him  there,  and  after  obtaining  his  for- 
giveness, dies  in  his  arms.  The  orig- 
inal cast  included  Leonora,  Mme. 
Stolz,  sop.;  Fernando,  Duprez,  ten.; 
Balthasar,  Baroelhst,  bass.  The  prin- 
cipal numbers  are :  Act  I :  "  Una  Ver- 
gine,"  Fernando;  "  Deh,  Vanne!  deh, 
parti,"  Fernando  and  Leonora;  Act 
II :  "  Ah !  I'alto  ardor,"  Leonora  and 
the  king;  Act  III:  "  O  mio  Fernando," 
Leonora;  Act  IV:  "  Scaviam  I'asilo," 
chorus  of  monks ;  "  Spirito  gentil," 
Fernando ;  "  Ah,  va,  t'invola,"  Fer- 
nando ;  "  Clemente  al  par  di  Dio," 
Leonora;  "Vieni,  ah,  vieni,"  Fernando. 

Fawcett  (John)  composed  the  ora- 
torio "  Paradise  "  and  psalm  and  hymn 
tunes.  B.  Dec.  8,  1789,  Wennington, 
Eng. ;  d.  Oct.  26,  1867,  Bolton.  John, 
Jr.,  played  organ  at  11  in  St.  John's 
Church,  Farnworth ;  composed  "  Sup- 
plication and  Thanksgiving,"  a  cantata 
for  his  degree  Mus.  Bac,  Oxford.  B. 
1824;    son  of  JOHN;    d.  July  1,  1857. 

FayoUe  (Frangois  Joseph  Marie) 
wrote  a  "  Dictionnaire  historique  des 
Musiciens  "  with  Choron,  Paris,  1810- 
11,  criticisms,  fragments  of  a  history 
of  the  violin.  B.  Aug.  5,  1774;  d. 
Dec.  2,  1852,  Paris. 

Fayrfax.CIJr.  Bobert)  composed  a 
five-part  Mass,  an  anthem  "  Of  oure 
lady  and  Saint  Elizabeth,''  songs; 
sang  in  Chapel  Royal  of  Henry  VIII; 
first  Doctor  of  Music  of  record  at  Ox- 
foi'd.  Probably  b.  in  Hertfordshire, 
Erig.,  16th  centurv. 

F  Clef.    Bass  CLEF  in  NOTATION. 

F  Dur.     Ger.    Key  of  F  major. 

Federclavier.      Ger.     Spinet. 

Feen.  Richard  Wagner's  opera  to 
his  own  libretto  was  composed  at 
Wurzberg,  1833,  the  story  being 
adapted  from  Gozzi's  "  Donna  Ser- 
pente,"  but  not  performed  until  1888, 
at  Munich. 

Feier.     Ger.    Festival. 

Feierlich.     Ger.     Festival  style. 

Feis  Ceoil  is  the  annual  Irish  com- 
petition and  music  festival  held  in 
Dublin.  The  first  took  place  May, 
1897. 

Feld.  Ger.  Field.  Disposition  of 
pipes  in  an  organ. 

Feld  Flote.     Ger.    Rustic  FLUTE. 


FELBLAGEB 


196 


FEE.KETTI 


Eeldlager  in  Schlesien.  Giacomo 
Meyerbeer's  three-act  opera  was  first 
performed  at  the  reopening  of  the  Ber- 
lin Opera  House,  Dec.  7,  1844,  and 
later  with  great  success  at  Vienna. 

Eeldmusik.     Ger.    Military  music. 

Eeldton.  Ger.  Key  of  B  flat  in 
which  military  instruments  are  usu- 
ally set. 

Felix  Meritis  was  the  name  of  an 
institution  for  the  cultivation  of  let- 
ters, arts,  and  sciences  in  Amsterdam, 
which  gave  several  important  series 
of  concerts.  The  society  was  founded 
in  1777  and  was  disbanded  in  1888. 

Felton  (Rev.  William)  composed 
for  harpsichord  and  organ;  custos 
of  Vicars  -choral,  Hereford  Cathedral. 
B.  Cambridge,  Eng.,  1713;  d.  Dec.  6, 
1769. 

Eenell  (Thomas)  sang  and  played 
organ  in  St.  Patrick's  Cathedral,  Dub- 
lin.   D.  1708. 

Fenton  (Lavinia)  became  London's 
favourite  singer  on  her  appearance  as 
Polly  Peachum  in  the  first  perform- 
ance of  the  "  Beggar's  Opera,"  Jan. 
29,  1728;  m.  Charles,  third  Duke  of 
Bolton.  B.  1708,  London;  real  name 
Beswick;    d.  Jan.  24,  1760. 

Eeo  (Francesco)  composed  the 
operas  "  Ipermestra,"  "  Ariana,"  "  An- 
dromache," and  church  ihusie;  di- 
rected Conservatorio  de'  Poveri  di 
Gestl  Cristo,  Naples.    B.  1685,  Naples. 

Ferial  ]ffusic  is  that  for  perform- 
ance on  other  than  feast  or  fast  days; 
hence  simple  as  opposed  to  ornate. 

Ferlendis  (Signora  Barberi)  sang 
con.  and  buffa  in  opera,  Lisbon,  Mad- 
rid, Paris,  retired  1810.  B.  1778, 
Bome;  m.  Alexander  Ferlendis,  the 
oboist. 

Fermata.  It.  "Stay."  The  term 
or  sign  which  indicates  that  note  or 
pause  shall  be  held  beyond  its  natural 
duration. 

Fermato,  Fermamente.  It. 
Firmly,  decidedly. 

Fernando  Cortez.  Gasparo  Spon- 
tini's  three-act  opera  to  book  by 
Esmfinard  and  De  Jouy  was  produced 
Nov.  28,  1809,  at  the  Paris  Acadgmie 
1  raperiale. 

Feroce.    It.    Fiercely. 

Ferocita,  con.    It.    With  ferocity. 


Eerrabosco  (Alfonso)  composed 
madrigals;  became  musician  to  Queen 
Elizabeth.  B.  Bologna;  son  of  the 
chapelmaster  of  St.  Petronio;  d. 
Turin,  1588.  Alfonso  composed  music 
for  Ben  Jonson's  masques;  composer 
to  Charles  I  of  England.  B.  Green- 
wich, son  of  the  first  ALFONSO;  d. 
1628.  Alfonso  composed;  played  in 
royal  band.  Son  of  the  second  AL- 
FONSO ;  d.  during  the  Commonwealth. 
Henry  became  composer  of  the  King's 
music ;  played  in  the  royal  band.  Son 
of  the  second  ALFONSO ;  killed  while 
serving  as  captain  in  Jamaica  expedi- 
tion. John  composed  services  and 
anthems;  played  organ  Ely  Cathedral. 
Probably  son  of  the  second  ALFONSO. 
D.  Oct.  15,  1682,  Ely. 

Ferrara  was  the  seat  of  the  ancient 
imperial  "Intrepidi"  academy,  founded 
1600  by  Giambattista  Aleotti  d'Ar- 
genta,  and  contained  a  splendid  theatre 
for  the  performance  of  "  Feste  Musi- 
cali,"  opened  by  Duke  Ercole  I,  1488. 

Ferrarese  Del  Bene  was  the  stage 
name  of  Francesca  Gabrielli,  who  sang 
sop.  in  opera  in  Venice,  London,  and 
Vienna,  1770-90. 

Ferrari  (Benedetto)  was  among 
the  earliest  writers  and  composers  of 
"  dramme  per  musica  " ;  said  by  Bur- 
ney  to  have  first  employed  the  word 
"  cantata  " ;  composed  "  Andromeda," 
"Adone,"  "Armida,"  and  other  operas, 
the  ballet  "  Dafne  in  alloro,"  the  ora- 
torio "  Sasone,"  chapelmaster  to  the 
Duke  of  Modena.  B.  1597,  Reggio;  d. 
Oct.  22,  1681. 

Ferrari  (Domenico)  composed  vio- 
lin sonatas;  violin  virtuoso;  pupil  of 
Tartini.    B.  Piacenza;    d.  1780,  Paris. 

Ferrari  (Olacomo  Ootifredo)  com- 
posed the  popular  songs  "  Qu'il  fau- 
drait  de  philosophic "  and  "  Quand 
I'Amour  nacquit  a  Cythfere,"  four 
operas,  two  ballets ;  taught  and  wrote 
"  Treatise  on  Singing  "  and  entertain- 
ing memoirs.  B.  1759,  Roveredo;  m. 
Miss  Henry,  1804,  London,  the  well 
known  pianist;   d.  1842,  London. 

Ferrel  (Jean  Frangois)  played 
violin ;  led  revolt  of  musicians  against 
the  "ROT  DES  MfiNETRIERS,"  Paris, 
17th  century. 

Ferretti  (Giovanni)  composed  mad- 


EEBBI 


197 


FESTIVALS 


rigals,  canzoni;  chapelmaster  at  An- 
cona  Cathedral,  1575-85.  B.  1540, 
Venice. 

Eerri  (Baldassare)  became  famous 
sopranist,  called  "  king  of  musicians  " 
by  Emperor  Leopold  I,  made  Knight 
of  St.  Mark,  Venice,  1643 ;  left  estate 
of  600,000  crowns  to  charity.  B.  1610, 
Perugia;   d.  Sept.  8,  1680. 

Eerte,  de  la  (Fapillon)  bought  the 
ofiBce  of  "  Intendant  des  Menus  plai- 
sirs"  to  Louis  XVI,  1777.  B.  1727, 
Chalons;  d.  Paris,  1794.  Under  the 
Restoration  his  son  held  the  same  post. 

Eertig.     Ger.     Quick,  dexterous. 

Eervaal.  Vincent  d'Indy's  three- 
act  opera  to  his  own  libretto  was  first 
performed  Mar.  12,  1897,  at  the  The- 
atre de  la  Monnaie,  and  May  10,  1898, 
at  the  Paris  Op6ra  Comique. 

Eervente,  Eerventemente.  /*. 
Fervently,  vehemently. 

Fes.     Ger.    F  flat. 

Fesca  (Eriedrich  Ernst)  composed 
the  opera  "  Cantemir,"  "  Leila,"  over- 
tures, symphonies,  chamber  music; 
played  violin;  chapelmaster  to  Duke 
of  Baden.  B.  Feb.  15,  1789,  Magde- 
burg; d.  May  24,  1826,  Carlsruhe. 
Alexander  Ernst  composed  "  Der 
Troubadour  "  and  three  other  operas, 
chamber  music.  B.  May  22,  1820, 
Carlsruhe;  son  of  FRIEDRICH 
ERNST;   d.  Feb.  2,  1849,  Brunswick. 

Fest.     Ger.    Festival. 

Festa  (Constanzo)  composed  a,  Te 
Devun  still  sung  in  celebration  of  papal 
elections,  songs  and  church  music; 
singer,  then  maestro,  at  the  Vatican. 
D.  Rome,  April   10,  1545. 

Festing  (Michael  Christian) 
helped  found  the  London  Society  of 
Musicians;  directed  music  at  London 
Italian  Opera,  1737;  Ranelagh  Gar- 
dens, 1742;  played  violin  and  taught; 
composed  cantatas,  songs,  chamber 
music.  B.  London;  son  of  a  well 
known  flautist;    d.  July  24,  1752. 

Fetis  (Frangois  Joseph)  became 
the  most  useful  of  the  world's  writers 
on  music;  wrote  the  monumental 
"Biographic  universelle  des  Musi- 
cians "  and  "  Histoire  g6n6rale  de  la 
Musique  " ;  a  "  Traitg  du  contrepoint 
et  de  la  fugue,"  which  ranks  with  the 
beat  modern  theoretical  works,  "  Traits 


complet  de  la  theorie  et  de  la  pratique 
de  ITiarraonie,"  which  has  been  re- 
published in  many  languages ;  founded 
the  "Revue  Musicale,"  1827-33,  the 
earliest  of  musical  journals  in  France; 
composed;  undertook  the  revision  of 
Gregorian  chant;  became  director  of 
the  Brussels  Conservatory  and  chapel- 
master to  the  King  of  the  Belgians, 
1833;  taught,  wrote,  lectured,  and 
composed  without  ceasing  until  his 
death.  As  a  lad  Fetis  learned  violin, 
piano,  and  organ  from  his  father,  who 
was  organist  at  Mons,  then  studied  at 
the  Paris  Conservatoire,  where  he 
gained  a  prize  in  harmony,  1803,  and 
the  second  prize  in  composition  1807. 
In  1806  he  married,  and  became  more 
earnest  in  his  work  than  ever,  but  in 
1811  was  obliged  bythe  loss  of  his  wife's 
fortune,  to  accept  an  appointment  as 
organist  at  Ardennes.  Then  he  taught 
in  Douai,  but  returned  to  Paris,  1820, 
became  professor  of  counterpoint  and 
fugue  at  the  Conservatoire,  and  in 
1827  librarian,  in  which  post  he  con- 
tinued until  his  departure  for  Brus- 
sels. His  compositions  include  the 
operas  "  L'Amant  et  le  Mari,"  "  Marie 
Stuart  en  licosse,"  "  Le  Mannequin  de 
Bergame,"  produced  at  the  Opfira 
Comique,  a  symphony,  overtures, 
chamber  music,  and  much  church 
music,  including  "  Messes  faciles  pour 
I'orgue  "  and  a  "  Messe  de  Requiem  " 
for  the  Queen  of  the  Belgians.  As  a 
critic  Fetis  was  not  always  fair;  as 
a  composer  by  no  means  great;  as  an 
historian  not  free  from  error,  a  state- 
ment equally  true  of  all  writers  on 
music,  but  he  was  none  the  less  the 
greatest  of  all  modern  musical  lit- 
terateurs. B.  Mar.  25,  1784,  Mons; 
d.  Brussels,  Mar.  26,  1871.  Eduard 
Ijouis  Frangois  wrote  on  music,  be- 
came head  of  the  Brussels  Royal  Li- 
brary; professor  of  sestheties  Brussels 
Academie  des  Beaux  Arts.  B.  May  16, 
1812,  Bouvignes  near  Dinant;  son  of 
FRANQOIS  JOSEPH;  add.  Brussels. 
Adolphe  liouis  Eugene  composed; 
taught  and  played  piano  in  Paris. 
B.  Aug.  20,  1820,  Paris;  son  of  FRAN- 
COIS JOSEPH;  d.  Mar.  20,  1873, 
Paris. 
Festivals  of  Music  were  first  held 


FESTIVAMENTB 


198 


EIBELIO 


in  Italy,  that  given  by  the  combined 
musicians  of  the  courts  of  Pope  Leo 
X  and  Francis  I  of  France  at  the  meet- 
ing of  their  sovereigns  in  Bologna, 
1515,  being  an  early  example.  As  a 
rule  festivals  were  occasional  affairs, 
lield  in  celebration  of  some  important 
event  in  royal  families.  The  Vienna 
Tonkiinstler-Societat  appears  to  have 
first  devised  regularly  recurring  festi- 
vals, a  practice  which  has  since  spread 
throughout  the  world.  Church  choir 
festivals,  held  annually  by  the  churches 
attached  to  one  diocese  in  the  Anglican 
church,  have  become  popular  in  British 
possessions  and  in  the  United  States 
since  1856,  when  the  first  of  the  kind 
was  held  in  Litchfield  Cathedral, 
England. 

Eestivamente.  It.  Solemnly, 
pleasantly. 

Eestivita,  con.    It.    With  joy. 

Festivo.    It.    Festive. 

Festoso.     /*.     Gay,  joyous. 

Feuillet  (Baoul  Auger)  wrote  an 
arrangement  of  dances  with  diagrams 
showing  the  steps,  published  in  Paris, 
1701,  as  "  Chorggraphie,"  etc. 

Fevin,  de  (Antoine)  composed 
masses,  motets,  and  part  songs  es- 
teemed second  only  to  those  of  Jos- 
quin.    B.  Orleans,  probably  1490. 

Fevon,  de  (Robert)  composed 
church  music;  chapelmaster  to  Duke 
of  Savoy.     B.  Cambrai,  16th  century. 

FF.  It.  Abbreviation  for  Fortis- 
simo.    "Very  loud." 

F  Holes.  Openings  in  the  belly  of 
viols,  so  called  from  resemblance  to 
the  letter  f. 

Fiacco.     It.    Weak,  faint. 

Fiala  (Joseph)  composed  two  sym- 
phonies, two  sets  of  string  quartets, 
played  oboe  with  remarkable  skill; 
chapelmaster  to  Prince  Fustemberg. 
A  serf  belonging  to  Countess  Lobko- 
witz,  he  was  compelled  to  labour  at 
the  Schloss  and  ran  away.  On  being 
recaptured  the  countess  wished  to 
have  his  teeth  pulled  to  prevent  him 
from  playing,  but  he  was  freed  by 
order  of  the  Emperor.  B.  1751,  Lob- 
kowitz;    d.  1816,  Donaueschingen. 

Fiasco.  It.  "Flask."  Used  by 
English  and  French  but  not  by  Ital- 
ians to  describe  a  complete  failure. 


Fiato.  /*.  Wind;  respiration. 
Fibich  (Zdenko)  composed  more 
than  700  works,  including  six  operas, 
six  melodramas,  the  overture  "Eine 
Nacht  auf  Karlstein,"  "  Komensky 
Festoverture,"  symphonies  in  G  minor, 
F,  E  flat,  seven  symphonic  poems,  352 
piano  pieces;  conducted  at  Prague 
national  opera,  1875-78,  Eussian 
Church,  1878-81.  B.  Czarlau,  Dec. 
21,  1850;    d.  Prague,  Oct.  10,  1900. 

Ficta    Musica.      L.      MUSICA 
FICTA. 
Fiddle.    VIOLIN. 
Fiddlestick.     Violin  BOW. 
Fidelio.     Ludwig  van   Beethoven's 
only  opera  composed  at  Hetzendorf  in 
the  summer  of  1804,  to  book  adapted 
by  Joseph  Sonnleithner  from  Bouilly's 
"  Lenore,  ou  1' Amour  conjugal,"  was 
first  performed  Nov.  20,  1805,  in  three 
acts,    with   what   is    now   called    the 
"  Leonora   overture   No.    II,"    at   the 
Theater  an  der  Wien,  Vienna.    It  was 
afterwards,  with  Beethoven's  reluctant 
consent,   reduced   to   two   acts.     Both 
take  place  in  a  Spanish  prison  where 
Florestan,  a  Spanish  noble,  is  confined 
by    order    of    Pizarro,    the   governor. 
Florestan's    wife,    Leonora,    disguises 
herself  as  a  lad,  Fidelio,  and  obtains 
employment  in  the  prison,  where  the 
turnkey's  daughter,  Marcelline,  falls  in 
love  with  her.    Eooco,  the  turnkey,  ap- 
proves the  match,  although  Jaquino, 
his   assistant,    also   loves   Marcelline. 
Fidelio  profits  by  her  employment  to 
seek  out  her  husband, but  invain.  Then 
comes  a  letter  announcing  a  visit  of 
inspection  from  the  minister,  Don  Fer- 
nando, and  Pizarro  at  once  determines 
Florestan  shall  be  put  to  death.    Rocco, 
the   old  turnkey,   refuses   to   commit 
murder,  so  Pizarro  orders  him  to  dig  a 
grave  in  which  the  body  may  be  con- 
cealed, meaning  to  kill  Florestan  him- 
self.   Fidelio  assists  in  this  grewsome 
task,    then  gains   admittance   to   the 
dungeon  in  which  her  husband  is  con- 
fined, and  gives  him  bread  and  wine, 
for   he   has   been   nearly   starved,  by 
Pizarro's  orders.    Florestan  is  brought 
forth,   but   as   Pizarro   tries   to   stab 
him,   Fidelio  throws   herself  between 
them,  then  covers  Pizarro  with  a  pis- 
tol.    Just  then  a  trumpet  announces 


FIDICEN 


199 


FIGURANTE 


the  approach  of  Don  Fernando.  Piz- 
arro  rushes  out  in  despair,  and  when 
the  minister  enters  he  instantly  orders 
the  release  of  his  old  friend  Florestan 
and  the  punishment  of  his  cruel  enemy. 
Marcelline  naturally  agrees  to  marry 
Jaquino  on  discovering  that  Fidelio  is 
a  woman,  and  there  is  general  rejoic- 
ing as  the  curtain  falls.  The  original 
cast  was:  Don  Fernando,  WeinkoflF, 
bar. ;  Pizarro,  Meier,  bar. ;  Florestan, 
Demmer,  ten.;  Rocco,  Rothe;  Ja- 
quino, Cache;  Leonore,  Frl.  Milder, 
sop.;  Marcelline,  Frl.  MuUer,  sop. 
The  principal  musical  nmnbers  are: 
Act  1 :  "  Die  HofiFnung,"  Marcelline ; 
"Mir  ist  so  wunderbar,"  canon- 
quartet;  "  Hat  man  nicht  auch  Geld 
deneben,"  Rocco;  "  Abscheulieher !  " 
Fidelio ;  Act  II :  "  In  des  Lebens  Frilh- 
lingstagen,"  and  "  Und  spiir'  ich  nicht 
linde,"  Florestan ;  "  O  Namenlose 
Freude,"  Florestan  and  Fidelio.  Bee- 
thoven wrote  in  all  four  overtures  to 
this  opera,  which  are  now  called  the 
Leonore  overtures  No.  I,  No.  II,  No. 
Ill,  and  the  Fidelio  overture.  He  even 
planned  a  fifth.  The  second.  No.  Ill, 
was  for  the  production  of  the  modified 
work;  the  third.  No.  I,  was  for  a 
performance  at  Prague  which  was 
never  given,  and  the  fourth  was  the 
Fidelio,  first  played  May  26,  1814,  on 
the  second  and  final  revision  of  the 
work.  The  Fidelio  overture  is  in  E, 
the  others  are  in  C. 

Fidicen.    Luteniat  or  harp  player. 

Field  (Henry  Ibbot)  played  and 
taught  piano ;  called  "  Field  of  Bath." 
B.  Dec.  6,  1797 ;   d.  May  19,  1848. 

Field  (John)  composed  five  noc- 
turnes which  are  still  played,  15  which 
have  been  forgotten,  seven  piano  con- 
certos, four  sonatas,  two  divertimenti, 
and  much  other  music  once  highly 
esteemed;  played  the  piano  with  ex- 
traordinary skill;  pupil  first  of  his 
father  and  grandfather,  then  of  Muzio 
Clementi,  in  whose  London  warehouse 
he  showed  pianos;  taught  in  Russia, 
and  hence  called  the  "Russian  Field"; 
returned  to  England,  1824,  and  played 
at  the  Philharmonic  concerts,  London ; 
visited  Paris,  and  in  1833  made  an  un- 
successful tour  of  Belgium,  Switzer- 
land, and  Italy;    rescued  from  a  hos- 


pital where  he  lay  for  nine  months  in 
Naples  by  a  Russian  family  with 
whom  he  returned  to  Moscow;  played 
with  great  success  in  Vienna  on  the 
journey  north;  died  shortly  after 
reaching  Russia.  In  his  nocturnes 
and  in  his  piano  playing  Field  was 
the  legitimate  precursor  of  Chopin. 
He  was  sufficiently  admired  by  Liszt 
to  have  caused  that  composer  to  edit 
some  of  his  works,  prefacing  them  with 
an  essay.  B.  July  26,  1782,  Dublin; 
d.  Moscow,  Jan.  11,  1837. 

Fielitz,  von  (Alexander)  composed 
the  widely  known  song  cycle  "  Eli- 
land,"  the  opera  "  Das  stille  Dorf," 
Hamburg,  Mar.  13,  1900;  two  suites 
for  orchestra;  conducted  under  Ni- 
kisch;  taught  in  Berlin  Stern  Con- 
servatory; conducted  at  the  Theatre 
des  Westens,  1904.  B.  Dec.  28,  1860, 
Leipsic;    add.  Berlin. 

Fier.    Fr.    Proud. 

Fieramente,  Fiero.  It.  Proudly, 
boldly. 

Fierrabras.  Franz  Schubert's  three- 
act  opera  to  book  by  Kupelwieser  was 
composed  in  1823  but  never  performed, 
although  ordered  by  Barbaja.  The 
score  is  in  possession  of  the  Gesell- 
schaft  der  Musikfreunde,  Vienna. 

Fife.  Instrument  of  the  flute 
family  having  six  finger  holes  with 
four,  five,  or  six  keys,  ranging  from 
d'  to  d'",  set  usually  in  B  fiat,  F,  or  C. 
The  fife,  until  recently  employed  in  mil- 
itary fife  and  drum  music,  lacked  keys 
and  was  of  cylindrical  instead  of  coni- 
cal bore,  with  very  faulty  intonation. 

Fife.  Piccolo  organ  stop;  two  ft. 
piccolo. 

Fifteenth.  Organ  stop  sounding 
two  octaves  higher  than  open  dia- 
pason;   interval  of  double  octave. 

Fifth  is  the  diatonic  interval  of  five 
notes  or  the  ancient  diapente.  The 
vibrational  ratio  is  2:3,  a  perfect 
consonance. 

Figaro.  Buffo  character  from  the 
comedies  of  Beaumarchais  in  Ros- 
sini's "  BARBER  OF  SEVILLE  "  and 
in  Mozart's  "NOZZE  DI  FIGARO." 

Figura.    L.    Note. 

Figurante.  Ballet  dancer  having 
an  individual  part  in  the  action;  in 
French  plays  a  silent  character. 


FIGTJRE 


300 


FINCH 


Figure.  Musical  phrase  or  sen- 
tence or  MOTIF;  the  complete  ex- 
pression of  an  idea  in  music  in  the 
briefest  form;  numeral;  florid  melody. 

Figured,  Figurato.     FLORID. 

Figured  Bass.  Bass  note  with 
figures  which  serve  as  shorthand  in- 
dications of  chords.  Examples:  2  in- 
dicate? a  4th  and  6th;  3  indicates  a 
5th;   4  a  5th  and  8th;   9  a  3d  and  5th. 

Fila  la  Voce,  It.  To  prolong  a 
tone,  swelling  and  diminishing  it  by 
degrees. 

Filippi  (Filippo)  composed;  edited 
Gazetta  Musicale  of  Milan,  wrote  criti- 
cism; propagated  the  Wagner  cult  in 
Italy.  B.  Vicenza,  Jan.  13,  1830;  d. 
June  25,  1887,  Milan. 

Fille  du  Regiment.  Gaetano  Doni- 
zetti's two-act  opera  to  book  by  Bay- 
ard and  St.  Georges  was  first  per- 
formed Feb.  11,  1840,  at  the  Paris 
Opfira  Comique.  Its  popularity  was 
immediate  and  still  continues.  Marie, 
vivandiere  of  the  21st  Regiment  of 
Napoleon's  army,  had  been  found  on  a 
battlefield  in  infancy  by  Sergeant 
Sulpioe  and  adopted  as  "The  Daughter 
of  the  Regiment."  During  the  occupa- 
tion of  the  Tyrol  by  the  French  Marie 
has  developed  into  womanhood,  and 
Tony,  a  peasant  lad  who  has  saved  her 
from  falling  over  a  precipice,  becomes 
desperately  in  love  with  her.  While 
seeking  an  interview  in  the  camp  he 
is  arrested  as  a  spy,  but  manages  to 
clear  himself  and  win  the  consent  of 
Marie's  numerous  foster-fathers  to  be- 
come her  husband  on  condition  that  he 
joins  the  regiment.  But  before  the 
wedding  can  take  place  the  Mar- 
chioness of  Berkenfeld  appears,  and 
Sergeant  Sulpice  remembers  to  have 
a  letter  addressed  to  her  from  Marie's 
father,  which  was  attached  to  the 
child's  dress  when  he  found  her.  He 
presents  this  letter,  and  the  Mar- 
chioness claims  Marie  as  her  long  lost 
niece.  Tony  is  rejected  as  an  un- 
suitable suitor  for  the  noble  young 
lady,  and  marches  away  with  the  regi- 
ment. Marie  is  sad  in  the  midst  of 
her  luxury,  but  presently  the  regiment 
comes  marching  back,  and  Tony  has 
become  its  colonel.  He  renews  his  suit, 
the  marchioness  declines  to  consider 


it,  and  an  elopement  is  planned,  but 
on  the  confession  of  the  marchioness 
that  Marie  is  not  her  niece  but  her 
daughter  by  a  secret  marriage  with  an 
army  officer  of  lower  social  position 
than  hsr  own,  Marie  yields  to  the 
mother  obedience  which  she  had  denied 
the  aunt,  and,  though  overwhelmed 
with  grief,  renounces  Tony.  In  the  end 
the  marchioness  relents,  and  the  regi- 
ment joyfully  prepares  to  celebrate 
the  nuptials.  The  original  Marie  was 
the  soprano  Anna  Thillon,  and  the  rCle 
was  a  favourite  with  Jenny  Lind, 
Patti,  Sontag,  Albani,  Kellogg,  and 
Sembrich.  The  principal  musical  num- 
bers are :  Act  I :  "  The  Camp  was  my 
Birthplace,"  Marie;  "Rataplan  duet," 
Marie  and  Sulpice,  bass;  "All  Men 
Confess  it,"  Marie ;  "  No  Longer  can 
I  doubt  it,"  Marie  and  Tony,  ten.; 
"  Farewell,  a  long  farewell,"  Marie ; 
Act  II:  "The  Light  of  Early  Day," 
Marie,  breaking  into  the  "  Rataplan," 
Marie  and  Sulpice ;  "  We  have  come, 
our  child  to  free,"  soldiers'  chorus. 

Fillunger  (Marie)  sang  sop.  in 
concert;  became  teacher  in  Royal 
College  of  Music,  Manchester,  1904. 
E.  Jan.  27,  1850;  pupil  Vienna  Con- 
servatory;   add.  Manchester,  Eng. 

Filtsoh.  (Charles)  won  phenomenal 
success  as  pianist  in  childhood;  but 
brought  on  consumption  by  overwork. 
B.  Siebenburgen,  Hungary,  July  8, 
1830;  pupil  of  Chopin  and  Liszt;  d. 
May  11,  1845,  Venice. 

Filtz  (Anton)  composed  39  sym- 
phonies, played  'cello  with  great  skill; 
name  also  spelled  Fils,  Filz,  Filsl,  and 
Fieltz.  B.  1725,  probably  in  Bohe- 
mia;   d.  1760,  Mannheim. 

Fin.     Fr.    The  end. 

Final  is  the  equivalent  of  tonic  or 
keynote  in  the  ecclesiastical  MODES. 

Finale.  It.  The  last  movement  in 
a  symphony  or  sonata;  last  number 
in  the  act  in  opera;  last  number  on 
a  programme. 

Finch.  (Hon.  and  Rev.  Edward) 
composed  church  music,  including  an 
anthem,.  "  Grant,  we  beseech  thee," 
and  a  Te  Deum;  prebendary  at  York 
and  at  Canterbury.  B.  1664;  son  of 
Earl  of  Nottingham;  d.  Feb.  14, 
1738. 


FINCK 


201 


nOBITUBE 


Finck  (Heinrich)  composed  church 
music  and  secular  songs  in  strict  con- 
trapuntal style;  chapelmaster  to  the 
Polish  kings  and  to  the  Duke  of  Wttr- 
temberg,  1501-1519.  B.  1482;  d.  June 
9,  1527,  Vienna.  Hermann  composed 
work  "  Practica  musica,"  etc.,  an  im- 
portant book  on  theory;  played  organ 
and  taught  at  University  of  Witten- 
berg. B.  Pima,  Saxony,  Mar.  21, 
1527;  grandnephew  of  HEINRICH; 
d.  Dec.  28,  1558,  Wittenberg. 

Finck  (Henry  Theophilus)  wrote 
"  Wagner  and  his  Works,"  New  York, 
1893 ;  "  Chopin  and  other  Musical  Es- 
says," "  Paderewski  and  his  art," 
"Songs  and  Song  Writers,"  1901; 
"  Primitive  Love  and  Love  Stories," 
1900;  "Romantic  Love  and  Personal 
Beauty,"  books  of  travel  and  criti- 
cisms in  New  York  "  Evening  Post " 
and  "  Nation."  GraduE|,ted  from  Har- 
vard, 1876;  pupil  of  J.  K.  Paine  in 
music;  studied  in  Berlin,  Heidelberg, 
and  Vienna.  B.  Sept.  22,  1854,  Bethel, 
Mo.;    add.  New  York. 

Fine.     It.    The  end. 

Finger  (Gottfried)  composed  con- 
certos and  sonatas,  dvamatic  music 
for  English  plays ;  musician  to  James 
II;  ■  musician  to  Queen  Charlotte  of 
Prussia,  for  whom  he  composed  the 
opera  "  Sieg  der  Schonheit  uber  die 
Helden."  B.  Moravia;  chapelmaster 
at  Gotha,  1717. 

Finger  Board.  The  wood  attached 
to  the  neck  of  stringed  instruments  of 
the  viol  and  guitar  families,  against 
which  the  strings  are  stopped  by 
pressing  with  the  fingers;  manual  or 
clavier. 

Finger  Cymbals.  Small  cymbals 
worn  on  the  fingers  and  played  like 
castanets. 

Fingering  is  usually  indicated  in 
modern  NOTATION  for  organ  and 
piano  by  the  numerals  1,  2,  3,  4,  5, 
regarding  the  thumbs  of  either  hand 
as  fingers,  although  in  some  English 
and  American  publications  the  thumb 
is  indicated  by  a  cross  mark,  and  only 
the  first  four  numerals  are  employed. 
Johann  Sebastian  Bach  was  probably 
the  first  to  introduce  a  system  of 
fingering  which  employed  all  the 
fingers  and  both   thumbs.     Paganini 


was  the  pioneer  in  the  modern  finger- 
ing for  viol  instruments. 

Fingerlieter.    Ger.    CHIROPLAST. 

Fingersatz,  Fingersetzung.  Oer. 
Fingering. 

Finite  Canon.  One  which  is  not 
repeated. 

Finite.     It.     Finished. 

Fink  (Christian)  composed  organ 
music,  songs,  psalms  for  chorus  and 
orchestra;  organist  and  president  Es- 
slingen  Seminary.  B.  Dettingen,  Wur- 
temberg,  Aug.  9,  1831;  add.  Ess- 
lingen. 

Fink  (Gottfried  Willielm)  edited 
the  Allgemeine  Musikalische  Zeitung, 
1827-41;  composed  songs.  B.  Suiza, 
Thuringia,  Mar.  7,  1783;  d.  Aug.  27, 
1846,  Halle. 

Finta  Giardiniera.  W.  A.  Mozart's 
three-act  opera  bufifa,  to  book  by 
anonymous  librettist,  was  first  per- 
formed Jan.  13,  1775,  at  Munich. 

Finta  Semplice.  W.  A.  Mozart's 
three-act  opera  buffa,  to  book  by  Col- 
tellini  but  not  produced,  was  composed 
in  Vienna,  1768,  when  the  composer 
was  but  12. 

Flnto.  /*.  Feint,  as  of  deceptive 
CADENCES. 

Fiocco  (Pietro  Antonio)  composed 
masses  and  motets,  conducted  court 
band  at  Brussels,  1706.  D.  Nov.  3, 
1714.  His  sons,  Jean,  Joseph,  and 
Giosefo  Hectore,  conducted  succes- 
sively at  the  Brussels  court.  The 
latter  composed  for  and  played  harp- 
sichord. 

Fiochetto.     It.    Slightly  hoarse. 

Fiooo.      /*.    Hoarse. 

Fioravanti  (Valentino)  composed 
"Le  Cantatrici  Villane,"  1806,  and 
"  I  virtuosi  ambulanti,"  1807,  and  in 
all  more  than  fifty  operas.  B.  1764, 
Rome;  d.  June  16,  1837,  Capua.  Vin- 
cenzo  composed  operas.  B.  April  5, 
1799;  son  of  VAIENTINO;  d.  Mar. 
28,  1877. 

Fiorillo  (Federigo)  composed  36 
ifetudes  for  violin  and  much  chamber 
music.  B.  1753,  Brunswick,  where  his 
father,  a  Neapolitan,  was  conductor 
of  the  opera. 

Floriscente,  Fiorito.  /*.  Florid, 
ornamented. 

Fioriture.      /*.     Cadenzas,    orna- 


TIPPLE    FLXJTE 


202 


FLAT 


ments;  florid  passages  in  melody  or 
accompaniment. 

Pipple  Piute.     FLUTE-a-bec. 

Firework  Slusic.  George  Fred- 
erick Handel's  music  in  celebration  of 
the  Peace  of  Aix-la-Chapelle,  per- 
formed in  connection  with  fireworks 
in  London,  April  27,  1749,  consisted 
of  an  overture  and  several  movements 
in  D,  scored  for  100  instruments. 

Firing.  Ringing  all  the  bells  in  a 
tower  together  as  an  expression  of 
joy,  and  of  mourning,  when  muffled. 

Fis.     Ger.    F  sharp. 

Fischer  (Emil)  sang  bass  in  opera, 
excelling  in  Wagnerian  r51es;  debut, 
1849;  with  Metropolitan  Opera,  New 
York,  for  many  years.  B.  Germany 
about  1835;    add.  New  York. 

Fisclier  (Johann)  became  famous 
throughout  northern  Europe  as  violin 
virtuoso  and  composed  for  that  instru- 
ment. B.  Probably  in  Swabia  17th 
century. 

Fischer  (Johann  Caspar  Ferdi- 
nand) composed  "  Ariadne  Musica 
Neo-Organoedum,"  published  1702, 
which  gives  organ  preludes  and  fugues 
in  twenty  different  keys,  thus  fore- 
shadowing the  scope  of  Bach's  "  Well- 
tempered  Clavier,"  clavier  music; 
chapelmaster  to  the  Markgraf  of 
Baden.     B.  about  1660;    d.  1738. 

Fischer  (Johann  Christian)  com- 
posed chamber  music,  including  a 
minuet,  for  which  Mozart  composed 
variations,  and  largely  for  oboe,  on 
which  he  was  a  distinguished  per- 
former; served  in  the  band  of  Fred- 
erick the  Great,  and  at  Mannheim, 
Dresden,  and  in  London.  B.  1733, 
Freiburg;    d.  April  29,   1800. 

Fischer  (Ludwig)  sang  bass  in 
operas  of  Mozart,  whose  close  friend 
he  was.  B.  Aug.  18,  1745,  Mayence. 
Barbara  was  an  actress  and  singer 
of  ability;  wife  of  LUDWIG.  Joseph 
sang  bass  admirably  and  became  a 
noted  impresario.  B.  1780;  son  of 
LUDWIG;  d.  1862.  Wilhelmine 
and  Mme.  Fischer- Vernier  sang,  and 
the  latter  founded  a  girls'  singing 
school  in  Vienna,  1835.  They  were 
sisters  of  JOSEPH. 

Fis  Dur.     Oer.    F  sharp  major. 

Fish  (William)  composed  songs,  a 


sonata  for  piano  and  concertos; 
taught  successfully  and  played  violin. 
B.  1775,  Norwich;  d.  Mar.  15,  1866, 
Norwich. 

Fisher  (Dr.  John  Abraham)  com- 
posed symphonies  and  much  forgotten 
dramatic  music;  m.  Miss  Powell, 
1770,  part  owner  of  Covent  Garden 
Theatre;  disposed  of  this  on  her 
death  and  visited  Vienna,  where  he 
m.  Anna  Selina  STAROCE;  was  ban- 
ished by  the  Emperor  for  beating  her. 
B.  1744,  Dunstable;    d.  London,  1806. 

Fisis.     Oer.    Double  sharp  F. 

Fis  Moll.     Oer.    F  sharp  minor. 

Fistula.  L.  "Pipe";  Dulcis, 
FLUTE-a-bec;  Pastoricia,  shepherd's 
pipe;  Eburniola,  pitch  pipe;  Ger- 
manlca,  German  FLUTE ;  Panis,  pan 
pipe. 

Fistulator.     L.    Piper. 

Fithele.     Old  English  for  VIOLIN. 

Fitzwilliam  (Edward  Francis) 
composed  songs,  the  opera  "  Queen  of 
a  Day,"  a  Te  Deum,  and  a  hymn.  B. 
Aug.  1,  1824,  Deal;  m.  Ellen  Chaplin; 
d.  Jan.  20,  1857,  London. 

Fitzwilliam  Collection,  bequeathed 
to  Cambridge  University,  together 
with  the  interest  of  $500,000,  1816, 
by  Viscount  Fitzwilliam,  includes  the 
works  of  more  than  250  composers  of 
the  17th  and  18th  centuries. 

Fladt  (Anton)  composed  three  con- 
certinos for  oboe,  which  instrument 
he  played  in  the  chief  music  centres 
of  Europe.  B.  Mannheim,  1775;  d. 
Munich. 

Flageolet.  Obsolete  instrument  of 
which  the  simplest  surviving  type  is 
the  tin  whistle  with  six  holes.  It  was 
a  development  of  the  FLUTE-a-bec  or 
fipple  flute,  having  a  tubular  mouth- 
piece swelling  into  a  bulb.  The  tone 
resembled  that  of  the  piccolo,  but  was 
softer.  Handel  is  said  to  have  em- 
ployed it  in  an  obbligato  to  "  O  Rud- 
dier than  a  Cherry." 

Flageolettone.  Oer.  Flageolet 
Tones. 

Flageolet  Tones.  HARMONICS 
of  viol  instruments. 

Flat.  The  sign  in  NOTATION  de- 
rived from  the  letter  b,  which  indi- 
cates that  a  note  is  to  be  lowered  a 
semitone;    minor,  as  of  flat  3ds  and 


FLAT    TUNING 


203 


FLIEGENDE 


5ths;  an  instrument  or  voice  is  said 
to  be  flat  when  the  tone  produced  is 
below  true  pitch.  The  double  flat 
lowers  a  note  two  semitones. 


Dutchman  offers  pearls  for  a  night's 
lodging,  and  all  his  wealth  if  the 
daughter  Daland  has  mentioned  will 
become  his  bride.    Daland  agrees  and 


Flat  Tuning.     French  tuning  for    the  two  captains  sail  away  "together" 
the    lute,    so    called    because    French    The  second  act  reveals  Senta  spinning 


pitch   was   formerly  lower   than   any 
other. 

riautando,  Plautato.  It.  Indi- 
cates violin  harmonics. 

Elautino.  It.  Little  flute  or  flage- 
olet; instrument  resembling  the  ac- 
cordion;   FLAUTANDO. 

riauto.     /*.     FLUTE. 

Flaiito  Dolce.  Sweet-toned  organ 
stop  of  four  ft.  pitch,  either  closed  or 
stopped. 

Flauto  Magico.  Name  of  the  Ital- 
ian version  of  Mozart's  ZAUBER- 
FLOTE. 

Flautone.     It.    Bass  FLUTE. 

Flauto  Piccolo.  It.  Piccolo 
FLUTE. 

Flauto  Traverse.  It.  The  tran- 
verse  FLUTE,  as  distinguished  from 
the  flute-a-bec. 

Flebile,  Flebilmente.  /*.  Dole- 
fully;   tearfully. 

Flamming  (Friedrich  Ferdinand) 
composed  setting  of  "  Integer  vitse," 
an  ode  by  Horace,  which  is  still  sung 
in  German  and  English  universities. 
B.  Neuhausen,  Saxony,  Feb.  28,  1778; 
d.  May  27,  1813,  Berlin. 

Flessibilitata.     It.     Flexibility. 

Flexibility.  Describes  free  and 
rapid  performance  of  either  vocal  or 
instrumental  passages. 

Fliegende  Hollander.  Richard 
Wagner's  three-act  opera  to  his  own 
libretto  (or  rather  the  libretto  he  sold 
in  Paris,  which  was  composed  by 
Dietsch  as  "  Le  vaisseau  fantSme  " ) 
was  flrst  performed  Jan.  2,  1843,  at 
Dresden.  The  original  caste  included 
Mme.  Schroeder-Devrieiit,  sop.,  as 
Senta;  and  Wachter,  bar.,  as  the 
Dutchman.  Driven  to  anchorage  near 
a  shore  by  a  severe  storm,  the  Nor- 
wegian Captain  Daland  regrets  not 
having  been  able  to  make  his  home 
port,  which  is  but  a  short  distance 
off.  A  second  vessel  looms  up  in  the 
storm,  and  its  black  mast  and  red  sails 
proclaim  that  the  Flying  Dutchman  is 
skipper.       The     captains     meet,     the 


with  her  maidens  in  Daland's  home. 
Sue  sings  the  ballad  of  the  Flying 
Dutchman,  who,  having  sworn  with 
horrid  blasphemy  that  he  would  double 
a  cape  though  he  had  to  keep  on  try- 
ing to  all  eternity,  has  been  condemned 
to  do  so.  Every  seven  years  the 
Dutchman  is  permitted  to  go  ashore, 
and  if  he  can  find  a  maiden  who  will 
love  him  faithfully,  the  curse  will  be 
removed;  but  otherwise  he  must  sail 
on  to  the  day  of  doom.  As  the  ballad 
ends,  Senta  cries  that  she  would  be 
that  faithful  maid,  which  her  suitor 
Erik,  who  has  just  entered,  hears, 
and  is  deeply  grieved.  Vainly  does 
Erik  plead  his  love.  Then  he  points 
to  the  Dutchman's  picture  which  hangs 
in  the  room,  and  declares  he  had 
dreamt  the  Dutchman  would  come, 
claim  Senta  as  his  bride,  and  sail  away 
with  her.  At  this  moment  her  father 
and  the  Dutchman  enter.  Daland  com- 
mends the  stranger  to  his  daughter, 
and  is  later  rejoiced  that  Senta  has 
agreed  to  become  the  Dutchman's 
bride.  The  third  act  represents  a 
harbour  with  Daland's  and  the  Dutch- 
man's ships  at  anchor.  Erik  makes  a 
last  appeal  to  Senta,  and  when  she 
refuses  to  listen  further,  reproaches 
her  with  infidelity.  At  this  the 
Dutchman  despairingly  goes  aboard 
his  ship,  believing  Senta  false,  and 
orders  his  men  to  sail  away.  As  the 
vessel  moves  from  the  shore  Senta 
plunges  into  the  sea,  crying,  "  Here 
am  I,  faithful  unto  death!  "  the 
doomed  ship  sinks,  and  Senta  and  the 
Dutchman  are  seen  transfigured  and 
at  last  united.  The  principal  musical 
numbers  are:  Act  I:  " Mit  Gewitter 
und  Sturm,"  Das  Stuermann  (Pilot), 
ten.;  "Die  Frist  ist  um,"  the  Dutch- 
man ;  Act  II :  "  Summ'  und  brumm  du 
gutes  Madchen,"  spinning  chorus  of 
maidens;  "Johohae!  trafft  ihr  das 
Schiff  im  Meere  an,"  Senta;  "  Wie 
aus  der  Perne,"  Senta  and  the  Dutch- 
man; closing  with  Daland  in  terzetto; 


FLIGHT 


204 


FLOKID 


Act  III:  "Stuermann,  lass  dieWacht," 
sailors'  chorus ;  "  Wass  muss  ich 
horen  ? "  Senta  and  Erik. 

Flight  (Benjamin)  built  organs  in 
England;  founded  the  firm  of  Flight 
and  Kelly.  Benjamin,  Jr.,  founded 
with  Joseph  Robson  the  organ  build- 
ing firm  of  Flight  &  Robson,  in  Lon- 
don, 1800,  which  continued  until  1832, 
and  exhibited  the  APOLLONICON. 
J.  Flight  was  admitted  to  the  firm  on 
the  retirement  of  Robson,  and  the 
house  became  known  as  Flight  &  Son. 
B.  1767,  London;  son  of  BENJAMIN ; 
d.  London,  1847. 

Fling.  Highland  dance  in  4-4 
time  or  reel. 

Flintof  (Bev.  Luke)  composed  the 
double  chant  in  G-  minor,  the  earliest 
known  specimen  of  its  kind,  and  is 
therefore  accredited  with  its  inven- 
tion; sang  Eng.  Chapel  Royal;  be- 
came priest-vicar  of  Lincoln  and  minor 
canon  of  Westminster  Abbey.  B. 
Worcester;    d.  Nov.  3,  1727,  London. 

F  Locher.    Qer.    F  holes. 

Flonzaley  Quartette  was  founded 
Nov.,  1903,  at  "  Le  Flonzaley,"  near 
Lausanne,  Switzerland,  by  E.  J.  de 
Coppet,  solely  and  absolutely  for  the 
sake  of  art.  Its  position  among  simi- 
lar organizations  is  exceptional,  by 
reason  of  the  fact  that  all  the  players 
are  free  from  material  preoccupation, 
and  devote  their  time  exclusively  to 
the  cultivation  of  chamber  music.  The 
quartette  played  in  public  for  the  first 
time,  Nov.,  1905,  in  Switzerland,  and 
in  the  autumn  of  1907  gave  a  series 
of  concerts  in  Munich,  Frankfort, 
Leipsic,  Cologne,  and  Amsterdam. 
During  the  season  of  1907-8  the  quar- 
tette played  in  New  York,  Boston, 
Chicago,  St.  Louis,  and  other  Ameri- 
can cities.  The  plans  for  1908-9  in- 
clude tours  of  Switzerland  and  Ger- 
many, with  two  concerts  in  Leipsic 
and  four  in  Berlin;  Holland,  with  20 
concerts  in  all,  four  in  Amsterdam  and 
two  at  The  Hague,  returning  to  Amer- 
ica, Dec.  20,  1908.  Members  of  the 
quartette  were:  Adolfo  Betti,  1st 
violin;  Alfred  Pochon,  2d  violin; 
Ugo  Ara,  viola;  Iwan  d'Archambeau, 
'cello.  Adolfo  Betti  made  his  debut 
as  a  violinist  at  seven,  but  hoped  for 


a  career  in  literature  rather  than 
music,  until  C6sar  Thomson  urged  him 
to  devote  himself  to  the  violin.  He 
entered  the  Ligge  Conservatory,  1892, 
studied  four  years  with  Thomson,  and 
won  the  Conservatory's  gold  medal. 
He  gave  concerts  in  Austria,  Germany, 
and  England,  1896-1900,  then  becom- 
ing a  teacher  in  the  Brussels  Conser- 
vatory. B.  Mar.  21,  1875,  Florence; 
add.  New  York.  Alfred  Fochon  re- 
ceived his  first  instruction  on  the  vio- 
lin from  Louis  Rey,  Geneva,  later 
continuing  his  studies  with  Cfisar 
Thomson.  In  1899  he  became  an  as- 
sistant to  this  famous  teacher  in 
Brussels.  B.  July,  1879,  Lausanne; 
add.  New  York.  Tlgo  Ara  was  at 
first  a  pupil  of  P.  A.  Tirindelli  in 
Venice,  and  later  of  C^sar  Thomson 
in  Liege.  In  1896  he  went  to  Vienna, 
where  for  several  years  he  devoted 
himself  to  the  study  of  composition 
with  Robert  Fuchs.  B.  1876,  Venice; 
add.  New  York.  Iwan  d'Archam- 
beau studied  'cello  with  Jacobs  at 
Brussels,  and  later  with  Hugo  Becker, 
at  Frankfort.  During  1900-1  he  gave 
chamber  concerts  in  England.  B.  Sept. 
25,  1880,  Brussels;    add.  New  York. 

Florence  has  been  the  seat,  since 
1862,  of  the  Royal  Musical  Institute, 
which  teaches  music  in  all  branches 
and  includes  an  academy  composed 
of  non-resident  as  well  as  resident 
members.  The  average  number  of 
pupils  is  220.  A  Philharmonic  Society 
existed  in  Florence  in  the  14th  cen- 
tury, and  there  were  first  produced 
those  Laudi  Spirituali  from  which 
oratorios  were  evolved.  Under  the 
Medici  family  the  early  form  of  music 
drama  known  as  "  feste  musicali " 
were  performed  in  splendid  style,  and 
the  "  Academy  Degli  Alterati "  was 
among  the  first  to  devote  itself  to  the 
representation  of  opera. 

Florence  (Evangeline)  was  the 
professional  name  under  which  Mrs. 
Alexander  Crerar,  born  Houghton, 
won  distinction  as  a  concert  singer 
in  London.  She  displayed  the  aston- 
ishing range  of  g  to  c"".  B.  Dec.  12, 
1873,  Cambridge,  Mass;  m.  Oct.  17, 
1894;    add.,  Boston. 

Florid    Counterpoint.      The    fifth 


riiORlD    MUSIC               205  FLTTDD 

variety    of    COUNTERPOINT,    gov-  vice,  but  in  1827  visited  Paris,  studied 

erned    by    special    laws    intended    to  music  under  Reicha,  and  though  forced 

secure  variety  in  effect.  to  leave  by  the  Revolution  of   1830, 

Florid    Music    is    that    which    ia  soon  returned,  and  continued  for  many 

highly  ornamented  or  embellished.  years  to  make  that  city  his  artistic 

Elorldia  (Pietro,  Baron  Napo-  headquarters.  The  first  and  very  brief 
lino)  composed  the  three-act  opera  version  of  "  Stradella "  was  produced 
"  Maruzza  "  to  his  own  book,  Venice,  in  1837  at  the  Palais  Royal,  but  his 
1894,  later  performed  with  success  first  success  was  won  with  "  Le  nau- 
in  Messina,  Turin,  Milan,  and  other  frage  de  la  Meduse,"  which  was  pro- 
Italian  cities;  the  four-act  opera  duced  May  31,  1839,  at  the  Theatre 
"La  Colonia  Libera"  .  (based  on  de  la  Renaissance,  and  after  a  credit- 
Bret  Harte's  "  M'liss  " ) ,  Theatre  Cos-  able  run,  won  further  honors  for  the 
tanzi,  Rome,  1900,  and  later  In  the  composer  in  Germany,  where  it  was 
principal  Italian  cities ;  symphony  in  given  as  "  Die  Matrosen." .  "  Stra- 
D  minor  (first  prize,  Milan,  1890);  della,"  Hamburg,  1844,  became  im- 
several  collections  of  piano  pieces,  mensely  popular  in  Germany,  though 
Pupil  of  the  Conservatory  of  San  it  proved  a  failure  in  London  and 
Pietro  a  Majella,  Naples,  his  first  was  not  produced  in  Paris.  "Martha" 
work,  a  three-act  comic  opera,  "  Car-  was  an  instant  success  from  its  pro- 
lotta  Cleqier,"  was  produced  at  Naples,  duction  in  Vienna,  1847,  having  been 
but  later  withdrawn  by  the  composer,  rewritten  from  the  earlier  ballet  of 
who  was  dissatisfied,  and  burned  his  the  same  name  composed  with  Burg- 
score.  His  latest  opera,  "  The  Scarlet  muUer  and  Deldevez,  1844.  Other 
Letter,"  which  he  hoped  to  produce  operas  of  Flotow's  were  "  L'esclave  de 
in  America,  was  the  occasion  of  a  Camoens,"  "  L'ame  en  peine,"  "  Leo- 
legal  controversy  with  H.  von  Con-  line,"  "  Die  Grossfiirstin,"  "  Indra," 
ried.  He  toured  as  concert  pianist;  "  Riibezahl,"  "  Hilda,"  "  Albin,"  "  La 
taught  piano,  Milan  Conservatory ;  Veuve  Grapin,"  "  Pianella,"  "  Zilda," 
then  settled  in  Cincinnati  as  head  of  "  L'Ombre,"  "  Naida,"  and  "  II  Fior 
vocal  department,  Cincinnati  College  d'Harlem."  His  ballets  were :  "  Die 
of  Music.  B.  May  5,  1860,  Modica,  Libelle,"  "TannkSnig,"  "Am  Runen- 
Sicily;    add.   Cincinnati,   Ohio.  stein."    B.  April  27,  1812;   d.  Jan.  24, 

Florimo    (Francesco)   composed   a  1883,  Darmstadt, 

funeral  symphony  on  the  death  of  his  Flourish..      Fanfare;     embellish- 

friend  Bellini,  a  Te  Deum,  a  Credo,  a  ment. 

Dixit,  a  cantata,  and  many  songs;  Flower  (Eliza)  composed  the  origi- 
organized  the  library  of  the  Royal  nal  musical  setting  of  "Nearer  my 
College  of  Music  at  Naples,  making  God  to  Thee,"  which  had  been  written 
it  one  of  the  most  important  collec-  by  her  sister  Mrs.  Adams;  other 
tions  in  Europe ;  founded  the  Bellini  hymns  and  anthems,  "  Now  pray  wc 
prize  in  that  institution ;  wrote  "  A  for  our  country,"  chorus ;  and  "  Four- 
History  of  the  College  of  San  Pietro,"  teen  musical  illustrations  of  the  Wav- 
Naples,  1873;  a  Method  of  Singing;  erly  novels."  B.  April  19,  1803,  Har- 
"Rieeardo  Wagner  ed  i  Wagneristi,"  low,  Essex;  daughter  of  Benjamin 
1876.  B.  Oct.  12,  1800,  San  Giorgi  Flower;  d.  Dec.  12,  1846. 
Morgeto,  Calabria;  d.  Dec.  18,  1888,  Flowers  (Dr.  George  French) 
Naples.  wrote    books    and    music    criticism; 

Flbte.     Oer.    FLUTE.  played    organ    in    English    churches; 

Flotow,     Freiherr     von     (Fried-  composed  a  Mass,   1860;    Tennyson's 

rich)  composed  "  STRADELLA "  and  Ode  on  the  death  of  Wellington  and 

"MARTHA,"  both  of  which  attained  songs.      B.    Boston,    Eng.,    June    28, 

wide    popularity;    intendant    of    the  1811;    d.  June  14,  1872,  London. 

Schwerin  Court  Theatre,  1856-63.   The  Fluchtig.     Ger.    Light,  rapid, 

son  of  a  noble  of  Mecklenberg,  Flotow  Fludd  (Robert)  included  disserta- 

was  trained   for  the   diplomatic  ser-  tiona    on    music    in    his    "  Utriusque 


S'LTTE   WORK 


206 


POIilA 


cosmi  majoris,"  etc.,  Oppenheim,  1624; 
Roscrucian  philosopher.  B.  1574, 
Kent,  Eng.;    d.  Sept.  8,  1637,  London. 

Flue  Work.  Division  of  organ 
stops  which  includes  all  pipes  in  which 
sound  is  produced  by  wind  passing 
through  a  flue  or  windway,  and  strik- 
ing against  an  edge  above. 

riiigel.  Ger.  "Wing."  Name 
given  both  grandpiano  and  harpsi- 
chord because  of  their  shape. 

nUgel  Horn.  Ger.  BUGLE; 
keyed  brass  valve  instruments  of 
varying  range. 

Flute.  As  employed  in  modern  or- 
chestra is  of  the  transverse  type,  with 
a  range  of  three  octaves  from  c'  up- 
ward. The  piccolo  flute,  a  smaller 
instrument,  gives  the  same  compass 
an  octave  higher.  While  the  flute 
sounds  as  an  open  tube,  its  harmonics 
are  modifled  by  the  facts  that  the 
mouthhole  is  less  than  the  diameter 
of  the  tube,  there  is  an  air  chamber 
formed  at  the  end  nearest  the  mouth- 
hole  by  stopping  the  tube  at  the  end 
with  cork,  and  by  modifications  of 
the  bore.  The  instrument  is  usually 
set  in  D,  although  there  are  flutes  in 
F  and  in  E  flat  for  military  bands. 
The  material  may  be  either  wood  or 
metal.  The  ordinary  cone  flute  has 
six  finger  holes,  six  closed  keys,  and 
two  opened  standing  keys.  As  im- 
proved by  Boehm,  the  flute  has  14 
orifices,  largely  controlled,  of  course, 
by  keys.  TTie  transverse  iiute  is  like- 
wise known  as  the  cross,  or  German 
flute,  as  distinguished  from  the  direct 
or  beak  or  flute-a-bec,  which  was 
blown  from  the  end  instead  of  from 
the  side,  and  is  now  obsolete.  The 
flute  is  among  the  most  ancient  of  in- 
struments, having  been  common  to  the 
Greeks  and  Romans,  Egyptians  and 
Asiatics,  by  all  of  whom  it  was  made 
in  a  variety  of  forms,  and  sometimes 
doubled,  so  as  to  be  capable  of  drone 
bass.  Of  the  flutes-a-bec  the  flageolet 
is  the  only  one  to  survive,  although  in- 
struments of  this  type  were  formerly 
made  in  four  sizes  from  bass  to  treble. 

Flute  d'Amour.  Fr.  Obsolete 
flute  which  stood  in  A  and  was  of 
pitch  corresponding  to  that  of  the 
Oboe  d'amore. 


Flute  Work  includes  all  organ 
stops  based  on  the  principle  of  the 
flute-a-bec  not  classed  as  Principal 
Work  or  Gedacht  Work ;  whether  open 
or  stopped,  of  wood  or  metal.  Thus 
far  organ  builders  have  not  agreed 
upon  the  nomenclature  of  flute  stops, 
and  the  number  is  infinite  and  fanci- 
ful. In  some  cases  the  names  indicate 
pitch  as  bass  flute,  kleinflote,  flute  des- 
cant; or  the  shape,  as  doppelflote, 
flachflSte,  rohrflote;  or  quality,  as 
flute  creuse,  flauto  dolce,  oboe  flute, 
but  in  general  they  are  meaningless. 

Flying  Dutcliman.  Name  of  tHe 
English  version  of  Wagner's  "  FLIE- 
GENDE  HOLLANDER." 

Fodor  (Joseph)  composed  nine  violin 
concertos, other  violin  pieces,  and  cham- 
ber music;  played  violin.  B.  1752, 
Venloo;  d.  Oct.  3,  1828,  St.  Petersburg. 
The  pianists  and  composers  Charles 
and  Anton  were  his  brothers. 

Fodor-Mainvielle  (Josephine) 
sang  sop.  in  opera;  debut  1814,  at 
the  Paris  Opfira  Comique;  retired 
1833.  B.  1793,  Paris.  Enrichetta 
sang  at  KSningstadt  Theatre,  Berlin, 
1846-49;     daughter  of  JOSEPHINE. 

Foggia  (Francesco)  composed 
church  music  for  from  two  to  nine 
voices,  the  last  of  Italian  polyphonic 
writing  in  the  style  of  Palestrina; 
court  musician  in  Cologne,  Munich, 
and  Vienna,  and  chapelmaster  at 
churches  in  Rome.  B.  1604,  Rome;  d. 
Jan.  8,  1628.  His  son  Antonio  suc- 
ceeded him  as  chapelmaster  at  Santa 
Maria  Maggiore,  Rome. 

Foglletto.  It.  The  leader's  or 
first  violin's  part,  containing  cues,  and 
therefore  available  for  the  conductor 
if  the  full  score  is  wanting. 

Fois.  Fr.  Time;  Deuxi^me,  sec- 
ond time;  DerniSre,  last  time;  Prem- 
iSre,  first  time. 

Foil  (Signor)  was  the  stage  name 
adopted  by  Allan  James  Foley,  who 
sang  bass  with  distinction  in  opera 
and  concert.  B.  Cahir,  Tipperary,  Ire- 
land, Aug.  7,  1835;  d.  Southport,  Eng., 
Oct.  20,  1899. 

Folia.  Spanish  dance  resembling 
the  fandango,  sometimes  like  the  cha- 
conne  and  passacaile,  written  on  a 
ground  bass. 


FOLIATED 


sor 


tOBlC 


Foliated.  Melody  to  which  orna- 
mentation has  been  added. 

Folk-Soixg  as  well  as  Folk-Dance 
is  that  music  of  racial  or  national 
character  which  has  deiveloped  among 
various  peoples  and  has  become  tradi- 
tional. The  study  and  preservation  of 
Folk  Music  is  an  important  function 
of  the  Folk  Lore  Societies  which  have 
grown  up  in  America  and  in  other  civ- 
ilized countries. 

Folk  Song  Society  was  founded  in 
London,  Jime  16,  1898,  for  the  pres- 
ervation and  collection  of  folk  songs, 
and  in  the  first  six  years  of  its  exist- 
ence had  issued  five  publications.  The 
first  president  was  tiie  late  Lord  Her- 
schel,  who  was  succeeded  by  Lord 
Tennyson. 

Fondamentale.    Fr.    Fundamental. 

Fends  d'Orgue.  Fr.  Foundation 
stops  of  the  organ. 

Foot.  Metrical  measure;  drone, 
bass;  chorus  of  a  song;  the  portion 
of  an  organ  pipe  helow  its  mouth. 

Foote  (Arthur)  composed  the  can- 
tatas "  The  Wreck  of  Uie  Hesperus," 
"The  Farewell  of  Hiawatha,"  "The 
Skeleton  in  Armor,"  the  symphonic 
poem  "  Francesca  di  Rimini,"  the  over- 
ture "  In  the  Mountains,"  a  serenade 
for  strings;  suites  in  D  minor  and  E 
major;  played  organ  and  taught  in 
Boston,  Mass.;  pupil  of  B.  J.  Lang 
and  of  J.  K.  Paine,  Harvard;  A.M. 
Harvard,  1875.  B.  Mar.  5,  1853, 
Salem,  Mass.;    add.  Boston. 

Forbes  (Henry)  played  p(iano, 
organ;  conducted  Societa  Armonica, 
London.  B.  1804,  London;  d.  Nov.  24, 
1859.  George  composed  the  opera 
"The  Fairy  Oak,"  Drury  Lane,  Lon- 
don, 1845,  the  oratorio  "  Ruth,"  songs 
and  psalm  tunes;  gave  concerts  with 
his  brother  HElyTRY.  B.  1813,  Lon- 
don;  d.  1883. 

Ford  (Ernest)  composed  services  in 
use  at  St.  Paul's  and  Westminster 
Abbey,  London;  the  ballets  "La  Fro- 
lique,"  "Brighton  Pier,"  "Faust," 
"  La  Danse,"  and  the  operettas 
«  Daniel  O'Rourke,"  1884,  "  Mr.  Jeri- 
cho," "  Jane  Annie,"  the  cantata  "  Eve 
of  the  Festa  " ;  conducted.  Royal  Ama- 
teur Orchestral  Society;  pupil  Royal 
Academy  of  Music,  London;    first  im- 


portant work  was  a  "  Domine  Deus  " 
for  the  250th  anniversary  celebration 
of  Harvard  University,  on  which  occa- 
sion he  visited  America.  B.  Feb.  17, 
1858,  Warminster,  Wilts,  Eng.;  add. 
London. 

Ford  (Thomas)  composed  the  four- 
part  songs  "  Since  first  I  saw  your 
face "  and  "  There  is  a  ladie  sweet 
and  kind,"  included  in  his  publication 
"  Musicke  of  Sundrie  Kindes,"  London, 
1607;  English  court  musician.  B. 
about  1580;   d.  Nov.  17,  1648. 

Forkel  (Johann  Nicolaus)  wrote 
the  first  life  of  J.  S.  Bach,  Eng.  trans., 
London,  1820,  many  critical,  theo- 
retical, and  historical  books  on  music; 
composed  the  oratorios  "  Hislias," 
1789;  "Die  Hirten  bei  der  Krippe," 
four  cantatas  for  chorus  and  orches- 
tra. B.  Feb.  22,  1749,  near  Coburg; 
d.  Gottingen,  Mar.  17,  1818. 

Forlana.  It.  Lively  Venetian 
dance  in  6-8  time. 

Form  is  a  term  which  may  be  prop- 
erly restricted  to  the  general  prin- 
ciples governing  the  construction  of 
Absolute  or  Pure  music,  of  which  the 
highest  type  is  the  Sonata.  The  Con- 
certo, the  Symphony,  the  Overture,  the 
String  Quartet  and  Trio,  treated  under 
separate  heads,  are  all  varieties  of  the 
Sonata.  Where  music  is  wedded  to 
words  whether  in  song,  opera,  or  ora- 
torio, it  must  lend  itself  to  the  char- 
acter of  the  words,  since  its  primary 
purpose  is  to  add  force  and  expression 
to  whatever  thought,  sentiment,  or 
emotion  the  words  convey.  In  pro- 
gramme music  the  composer  must  be 
equally  unfettered  by  form,  since  it  is 
his  purpose  to  portray  a  character,  an 
episode,  or  tell  a  story,  translating 
the  ideas  conveyed  by  words  into  tones. 
Absolute  music  speaks  the  higher  and 
universal  language  of  the  emotions 
which  is  not  dependent  for  expression 
upon  words;  which  cannot,  indeed,  be 
so  well  expressed  in  words.  That  sense 
of  perspective  and  proportion  which  is 
looked  for  in  the  work  of  the  painter, 
the  sculptor,  the  architect,  the  poet, 
must  be  gratified  in  pure  music  also. 
In  none  of  the  arts  can  it  be  attained 
by  rule.  In  none  of  them  is  it  capable 
of  exact  definition.    In  the  course  ol 


vomt 


208 


FOBSTEB 


centuries  certain  principles  have  de- 
veloped, however,  by  which  symmetry 
and  proportion  in  the  sonata  form 
may  be  sensed.  When  instrumental 
music  began  to  develop  apart  from  its 
function  as  accompaniment  to  the 
voice,  the  first  expression  of  form 
was  found  in  the  Suites  for  orchestra 
or  solo  instruments.  These  were  col- 
lections of  dances  so  grouped  as  to 
afford  agreeable  contrast  in  rhythm, 
tempo,  and  key,  and  variety  in  melody. 
The  Sonata  was  evolved  from  the 
Suite,  and  C.  P.  E.  Bach  was  among 
the  first  to  compose  sonatas  in  the 
three  movements  which  still  distin- 
guished it.  Joseph  Haydn,  called  the 
Father  of  the  Symphony,  confesses  his 
obligations  to  Bach,  and  he,  with 
Mozart,  gave  the  sonata  a  still  more 
definite  form.  Beethoven  enlarged 
upon  and  improved  the  form  of  the 
sonata,  which  remains  unchanged  to- 
day, and  is  likely  to  remain  unchanged 
until  the  advent  of  another  great 
master.  In  modem  usage  the  term 
symphony  is  restricted  to  the  orches- 
tral sonata,  overture  to  a  more  con- 
densed orchestral  compositlpn  upon 
sonata  lines ;  concerto  to  compositions 
for  one  or  more  instruments  with  or- 
chestra, designed  to  display  both  the 
resources  of  the  instriunents  and  the 
skill  of  the  performers,  while  the 
word  sonata  itself  is  reserved  for  com- 
positions for  one  or  two  instruments. 
Bearing  in  mind  these  distinctions,  it 
will  suffice  to  know  the  general  plan  of 
the  sonata  and  the  points  of  difference 
between  it  and  the  several  members  of 
its  family  above  enumerated.  The 
sonata  is  usually  in  three  movements. 
The  first,  which  may  or  may  not  have 
a  short  introduction  in  slow  time,  is 
usually  an  allegro.  The  second  move- 
ment may  range  from  andante  to 
adagio,  while  the  third  usually  returns 
to  allegro.  In  the  early  sonata  form 
employed  by  Haydn  and  Mozart  the 
first  movement  begins  with  the  an- 
nouncement of  a  theme  or  melody,  the 
end  of  which  is  marked  by  a  cadence ; 
then  comes  the  second  theme  often  in 
the  dominant  key,  and  of  course  con- 
trasted in  melody;  then  another  ca- 
dence, followed  by  the  development  or 


working  out,  and  finally  a  return  of 
both  themes,  the  second  modulated  to 
the  key  in  which  the  movement  opens, 
concluding  with  a  brief  coda.  The 
second  movement  is  constructed  in  the 
same  manner,  usually  in  a  related  key, 
while  the  third  movement  is  in  RONDO 
form,  and  returns  to  the  key  of  the 
first  movement.  Adhesion  to  closely 
related  keys  and  a  sharply  defined 
cadence  to  close  each  section  were  char- 
acteristics of  the  early  sonatas.  Bee- 
thoven found  the  general  sense  of  key 
tonality  more  highly  specialized  when 
he  reached  maturity,  and  he  was  there- 
fore able  to  indulge  in  a  wider  range 
of  keys,  and  to  eliminate  the  frequency 
of  the  cadences.  He  likewise  intro- 
duced additional  themes,  and  expanded 
the  coda,  often  employing  fresh  mate- 
rial, until  it  became  an  important 
feature  of  the  composition. 

Formes  (Karl  Johann)  sang  bass 
in  opera,  debut  Cologne,  Jan.  6,  1842, 
and  in  the  principal  cities  of  Europe 
and  America.  B.  Aug.  7,  1816,  Mal- 
heim  on  the  Rhine;  d.  Dec.  15,  1889, 
San  Francisco.  Theodore  sang  ten., 
Berlin  Opera,  1851-66;  toured  Amer- 
ica with  his  brother  KARL  JOHANN. 
.B.  June  24,  1826,  Mulheim;  d.  Oct. 
15,  1874,  near  Bonn. 

Fornasari  (Luciano)  sang  bass 
in  opera  at  Milan,  Havana,  Mexico 
City,  New  York,  and  London,  1828 
to  1846. 

Fornia  (Bita  P.  Newman)  sang 
coloratura  sop.  at  Metropolitan  Opera 
House,  New  York,  and  Covent  Gar- 
den, London;  debut,  1901,  Hamburger 
Stadt  Theatre;  pupil  of  Jean  de 
Reszke  and  of  Frau  Nicklass  Kemp- 
ner.  B.  July  17,  1879,  San  Francisco, 
Cal.;    add.  New  York. 

Forster  &  Andrews  built  organs 
in  England.  The  firm  established  its 
factory  at  Hull,  1843. 

Forster  (Emanuel  Aloys)  com- 
posed 48  violin  quartets,  preludes,  and 
fugues  for  organ,  piano  sonatas; 
taught  and  wrote  on  theory  and  com- 
position; highly  esteemed  by  Beetho- 
ven. B.  Jan.  26,  1748,  Niederstein, 
Glatz,  Silesia;  d.  Vienna,  Nov.  12, 
1823. 

Forster  (Georg)  edited  five  books 


FOBSTER 


209 


FOSTER 


of  Gennan  secular  songs,  Nuremberg, 
1539-59,  including  Isaac's  "  Inspruoh, 
ich  muss  dich  lassen,"  afterwards  em- 
ployed as  a.  chorale  and  harmonized 
by  Bach  in  his  "St.  Matthew  Passion" 
to  the  words  beginning  "  Wer  hat  dich 
80  geschlagen,"  and  in  all  380  numbers, 
of  which  he  composed  37;  edited  two 
books  of  sacred  music,  including  selec- 
tions from  Josquin  and  Okeghem.  B. 
1514,  Amberg;    d.  1568,  Nuremberg. 

Forster  (William)  made  violins  of 
excellent  quality;  published  music  in 
London  from  1781  to  1787,  including 
many  of  Haydn's  works;  learned  hia 
craft  from  his  father,  William,  and 
grandfather,  John,  who  made  both  vio- 
lins and  spinning  wheels  at  Brampton. 
B.  May  4,  1739,  Brampton;  d.  Dec. 
14,  1808,  London.  William,  Jr., 
made  violins  on  the  Stainer  and 
Amati  models ;  became  music  publisher 
in  London  to  the  Prince  of  Wales 
and  Duke  of  Cumberland,  hence  called 
"Royal"  Forster.  B.  1764;  son  of 
WILLIAM;  d.  1824.  William  made 
violins  but  soon  engaged  in  other  busi- 
ness. B.  1788;  son  of  WILLIAM,  JR. ; 
d.  1824.  Simon  Andrew  wrote  "  The 
History  of  the  Violin  and  other  In- 
struments played  with  the  Bow,"  Lon- 
don, 1864 ;  made  violins  and  continued 
the  business  of  his  father,  WILLIAM, 
JR.    B.  1801;   d.  Feb.  2,  1870,  London. 

Forsyth.  Bros,  made  pianos  in  Man- 
chester, Eng.,  and  engraved  music. 
The  business  was  founded  by  Henry 
and  James  Forsyth,  1857,  and  became 
a  corporation  under  the  presidency  of 
James  Forsyth,  1901.  Henry  Forsyth 
died  1885. 

Forte.  /*.  "Loud";  indicated  In 
NOTATION  by  abbreviation  f.,  in  a 
lesser  degree  by  mf .  Mezzoforte,  and  in 
the  comparative  and  superlative  de- 
grees by  ff.  and  fff.  which  indicate 
Fortissimo  and  Fortississimo. 

Fortemente.  /*.  Loudly,  vigor- 
ously. 

■Forte-Piano.  It.  "  Loud-soft." 
The  sudden  transition  from  loud  to 
soft  is  indicated  in  NOTATION  by  the 
abbreviation  fp. 

Forte  Possibile.  /*.  As  loud  as 
possible. 

Fortl  (Anton.)  sang  bar.  in  opera 


and  concert,  debut  Presburg,  1807; 
created  Lysiart  in  "  Euryanthe,"  1823. 
B.  June  8,  1790,  Vienna;  d.  July  16, 
1859,  Vienna. 

Fortsetzung.  Qer.  Continuation 
or  development  of  an  idea.. 

Forza,  con.  It.  With  force  or 
emphasis. 

Forza  del  Destlno.  Giuseppe 
Verdi's  four-act  opera  to  book  by 
Piave  was  first  performed  Nov.  11, 
1862,  at  St.  Petersburg. 

Forzando.  It.  "Forcing."  Accent 
or  emphasis  indicated  in  NOTATION 
by  sign  or  the  abbreviations  fz.  or  sf. 

Forzato.    It.    FORZANDO. 

Foster  (Kuriel)  sang  con.  in  con- 
cert with  success  in  Europe  and  Amer- 
ica; debut  in  dratorio,  Bradford  Festi- 
val, Eng.,  Nov.  6,  1896;  pupil  Royal 
College  of  Music.  B.  Nov.  22,  1877; 
add.  London.  Hilda  sang  in  concert 
with  her  twin  sister  MURIEL,  but 
retired  on  her  marriage  to  F.  C.  Bram- 
well,  1900. 

Foster  (Myles  Birket)  composed 
"  Isle  of  Arran,"  symphony  in  F  sharp 
minor,  40  anthems.  Communion  Ser- 
vice in  B  flat,  Evening  Service  in  C 
for  male  voices.  Festival  Service  in  A, 
the  cantatas  "  The  Seven  Last  Words  " 
and  "  Seed  Times  and  Harvest " ;  the 
children's  cantatas  "Cinderella," 
"  Lampblack,"  "  Beauty  and  the 
Beast,"  "The  Angel  of  the  Bells"; 
wrote  "  Anthems  and  Anthem  Com- 
posers," Novello,  1901;  pupil  Royal 
Academy  of  Music;  played  organ.  B. 
Nov.  29,  1851,  London,  son  of  Birket 
Foster;    add.  London. 

Foster  (Stephen  Collins)  composed 
175  songs,  for  most  of  which  he  wrote 
the  words,  including  "Old  Black  Joe," 
"Swanee  River,"  or  "Old  Folks  at 
Home,"  "My  Old  Kentucky  Home," 
"  Old  Uncle  Ned,"  "  O,  Susanna,"  "  The 
Louisiana  Belle,"  "Old  Dog  Tray," 
"  Massa  's  in  de  Cold,  Cold  Ground," 
"Gentle  Annie,"  "Willie  We  Have 
Missed  You,"  "  I  would  not  Die  in 
Springtime,"  "  Come  where  my  love 
lies  dreaming,"  "  I  see  her  still  in  my 
dreams,"  "Open  thy  lattice.  Love," 
"  Laura  Lee,"  and  "  Ellen  Bayne,"  the 
last  probably  the  original  of  the  tune 
"John  Brown's  Body."     Many  songs 


14 


FOUGHT 


210 


FBA  DIAVOLO 


of  Foster  have  been  harmonized  as 
part  songs,  and  are  known  the  world 
over.  There  is  no  foundation  for  the 
assumption  that  he  utilized  the  melo- 
dies of  the  negro  slaves,  for  he  came 
little  in  contact  with  that  class,  the 
error  having  arisen  from  the  fact  that 
most  of  his  songs  were  first  made 
known  and  were  written  for  the  "  NE- 
GRO MINSTRELS,"  who  furnished 
a  highly  popular  form  of  entertain- 
ment in  his  day.  In  music  Foster  was 
largely  self  teught,  but  he  became 
familiar  with  the  music  of  Beethoven, 
Mozart,  and  Weber  in  boyhood,  had 
learned  to  play  the  flageolet  at  seven, 
and  although  debarred  by  his  environ- 
ment from  composing  in  the  larger 
forms,  his  power  of  invention  was  re- 
markable, his  taste  excellent.  A 
thorough  Bohemian  in  temperament, 
he  possessed  a  talent  for  painting  as 
well  as  for  music,  and  taught  himself 
German  and  French,  but  was  content 
to  take  the  profits  on  his  songs  with- 
out striving  for  distinction  along  more 
pretentious  lines.  He  even  permitted 
the  first  edition  of  "  Swanee  River  " 
to  be  published  as  the  work  of  Christy, 
the  minstrel.  Foster  was  born  July 
4,  1826,  of  Irish  parentage,  near  Pitta- 
burgh,  Pa.  At  14  he  entered  the 
Academy  at  Athens,  Pa.,  and  while 
a  student  there  published  a  waltz  for 
four  flutes,  and  in  1842  his  first  song, 
"Open  thy  lattice,  Love."  His  edu- 
cation was  completed  at  Jefferson  Col- 
lege, and  thereafter  he  made  his  home 
in  Pittsburgh.  While  in  New  York 
he  was  attacked  with  a  malarial  fever, 
and  died  Jan.  13,  1864. 

Fought  (Henry)  published  music 
in  London;  was  the  pioneer  in  cheap 
publications,  selling  sheet  music  at  a 
penny  per  page,  while  the  average 
price  of  other  publishers  was  sixpence. 
Probably  a  native  of  Ireland;  estab- 
lished his  business  in  1767. 

Foundling  Hospital  is  the  Lon- 
don charity  for  which  George  Frederick 
Handel  composed  the  anthem  "Blessed 
are  they  that  consider  the  poor."  He 
also  gave  concerts  that  brought  nearly 
$40,000  to  the  management;  presented 
a  fine  organ  built  by  Dr.  Morse,  and 
bequeathed  to  it  a  full  part  score  of 


the  "Messiah,"  which  has  been  found 
useful  in  correcting  later  editions. 

Fourcliette  Tonique.  Pr.  Tuning 
fork. 

Fourneaux  (Napoleon)  invented 
improvements  for  reed  instruments, 
the  accordeon  and  the  organ.  B. 
Lfiard,  Ardennes,  May  21,  1808;  d. 
July  19,  1846,  Aubanton,  Aisne. 

Fournier  (Pierre  Simon)  engraved 
music  and  improved  type  employed  in 
publishing  music,  substituting  round 
for  the  old  lozenge-shaped  notes ;  wrote 
on  the  music  publishing  trade  in 
Prance.  B.  Sept.  15,  1712,  Paris;  d. 
Oct.  8,  1768. 

Fourniture.  Fr.  Organ  mixture 
stop. 

Fourth.  Interval  of  four  notes; 
the  Greek  Diatessaron. 

Fra  Diavolo.  Daniel  F.  E.  Auber's 
three-act  op€ra  comique  to  book  by 
Scribe  was  first  performed  Jan.  28, 
1830,  at  the  Paris  Opfira  Comique.  It 
not  only  established  the  composer  as 
a  favourite  with  music  lovers  in  the 
French  capital,  but  proved  equally 
popular  when  sung  elsewhere  in  Ital- 
ian and  English.  Fra  Diavolo,  a  ban- 
dit, has  failed  in  an  attempt  to  rob 
Lord  and  Lady  Allcash  of  their  jewels, 
but,  disguised  as  a  marquis,  he  makes 
an  impression  upon  the  susceptible 
Lady  Allcash,  and  learns  the  trick  by 
which  their  property  was  saved.  The 
party  stops  at  the  inn  of  Terracina, 
where  Fra  Diavolo  plans  another  at- 
tempt at  robbery.  Meantime  the  car- 
bineers are  endeavouring  to  capture 
the  famous  bandit,  and  Zerlina,  the 
innkeeper's  daughter,  describes  him  in 
a  popular  song  which  celebrates  his 
misdeeds,  to  the  great  delight  of  the 
marquis.  Zerlina  is  to  marry  Lorenzo, 
the  soldier  who  has  been  ordered  to 
capture  Fra  Diavolo.  Fra  Diavolo 
conceals  himself  with  two  of  his  com- 
rades, Beppo  and  Giacomo,  in  her 
room,  in  order  that  when  all  are  asleep 
they  may  gain  access  to  the  Allcash 
jewels.  Returning  carbineers  arouse 
the  guests  before  the  bandits  can  carry 
out  their  plans,  and  when  the  com- 
pany hears  a  sudden  noise  in  the 
closet,  Fra  Diavolo  steps  out,  and  ex- 
plains that  he  has  been  given  a  rendez- 


FRAMERT 


211 


rRANCK 


vous  by  Zerlina.  He  thus  escapes  sus- 
picion as  a  thief,  although  challenged 
to  a  duel  by  Lorenzo.  One  of  the 
bandits  is  captured,  however,  and  he 
betrays  Fra  Diavolo.  The  following 
day  ttie  famous  bandit  is  killed  while 
trying  to  escape  from  the  soldiers,  who 
have  ambushed  him,  but  not  before  he 
has  cleared  Zerlina's  character.  The 
principal  musical  numbers  are :  Act  I : 
"  I  don't  object,"  Lord  and  Lady  All- 
cash;  "On  yonder  Eock  reclining," 
Zerlina;  "The  Gondolier,  fond  Pas- 
sion's Slave,"  Fra  Diavolo;  Act.  II: 
"  Let  us,  I  pray,  good  wife,  to  rest," 
Lord  and  Lady  AUeash ;  "  Young 
Agnes,"  Fra  Diavolo;  "'Tis  To- 
morrow," Zerlina;  "O  Holy  Vir- 
gin," Zerlina;  Act  III:  "Proudly 
and  Wide  my  Standard  flies,"  Fra 
Diavolo ;  "  TTden  since  Life  glides 
so  fast  away,"  Fra  Diavolo ;  "  O  Holy 
Virgin!  bright  and  fair,"  chorus  of 
peasants. 

Framery  (Nicliolas  Etienne) 
wrote  both  words  and  music  of  the 
comic  opera  "  La  Sorcifere  par  hazard," 
1783;  adapted  libretti;  made  trans- 
lations and  wrote  on  music;  edited 
"Le  Journal  de  Musique,"  1771-78; 
aided  in  the  preparation  of  several  dic- 
tionaries. B.  Mar.  25,  1745;  d.  Nov. 
26,  1810,  Paris. 

Franc  (Guillauine)  edited  an  im- 
portant Psalter  for  the  Calvinists  of 
Lausanne,  but  not  the  famous  book 
of  35  psalms  published  by  Calvin's 
order  in  Geneva,  1542,  long  attributed 
to  him,  more  recently  to  BOURGEOIS. 
In  1541  he  settled  in  Geneva,  sang  at 
St.  Peter's  and  was  master  of  the  chil- 
dren, but  became  a  member  of  the 
choir  at  Lausanne,  1545.  B.  Rouen; 
d.  Lausanne,  1570. 

Frangaise.  Fr.  Country  dance  in 
triple  time. 

Francesca  de  Rimini.  Ambroise 
Thomas's  four-act  opera  to  book  by 
Barbier  &  Carrg  was  first  performed 
April  14,  1882,  at  the  Grand  Op6ra, 
Paris.  Hermann  Goetz's  unfinished 
opera  of  the  same  title,  completed  from 
the  composer's  sketches  by  Ernest 
Frank,  was  first  performed  Sept.  30, 
1877,  at  Mannheim.  Peter  Ilyitch 
Tschaikowsky's  symphonic  poem.  Op. 


32,  was  written  and  first  performed 
in  1876. 

Francesina,  La  (Elizabeth.  Du- 
parc)  sang  sop.,  1736-45,  in  opera  and 
oratorio  under  Handel's  direction  in 
London. 

Franchetti  (Alberto)  composed  the 
operas  "Asrael,"  Brescia,  1888;  "Cris- 
toforo  Colombo,"  Genoa,  1892;  "Pior 
d'Alpe,"  Milan,  1894;  "Signer  di 
Pourceaugnac,"  Milan,  1897;  "Ger- 
mania,"  Milan,  1902;  a  symphony  in 
E  minor.  B.  Sept.  18,  1860,  Turin; 
add.  Turin. 

Franchezza.  It.  Freedom,  confi- 
dence. 

Franchise.  Fr.  Freedom,  confi- 
dence. 

Franchomme  (Auguste  Joseph) 
composed  adagios  for  'cello  which  are 
highly  esteraned,  one  concerto,  pot- 
pourris, and  variations,  and  (with 
Chopin)  a  duo  on  "  Robert  le  Diable  " ; 
was  the  most  famous  'cellist  of  his 
day;  founded  quartet  concerts  with 
Alard  and  Hall€;  pupil  and  after- 
wards teacher  at  the  Paris  Conserva- 
toire. B.  April  10,  1808,  Lille;  d. 
Jan.  22,  1884,  Paris. 

Franciscello  played  'cello  in  Rome 
to  Scarlatti's  harpsichord  accompani- 
ment, at  Naples,  Vienna,  and  Genoa, 
18th  century. 

Franck  (C€sar)  composed  "Les 
Beatitudes,"  oratorio ;  "  Rebecca," 
Biblical  idyl ;  "  Psyche,"  symphonic 
poem;  "Redemption,"  church  music; 
chamber  music,  ajid  operas;  ranked 
as  the  greatest  of  modern  French 
teachers ;  and  was  probably  the  great- 
est of  church  organists  and  composers 
since  the  time  of  Bach.  Franck's 
education  was  begun  in  the  Conserva- 
toire at  Ligge,  but  at  15  he  was  ad- 
mitted to  the  Paris  Conservatoire, 
where  he  studied  counterpoint  and 
fugue  under  Leborne  and  piano  under 
Zimmerman  and  obtained  a  first  prize 
in  1838  by  transposing  a  passage  at 
sight  to  a  third  below.  Forbidden  by 
his  father  to  compete  for  the  prix  de 
Rome,  Franck  left  Paris,  1842,  and 
taught  for  two  years  in  Belgium,  re- 
turning to  the  French  capital  1844. 
In  1848  he  became  organist  at  Ste. 
Clotilde,  a  post  which  he  filled  with 


FBANCK 


213 


FRANK 


distinction  for  32  years.  In  1872  he 
became  professor  of  organ  at  the  Con- 
servatoire. Among  his  pupils  were 
Vincent  d'Indy,  Henri  Duparc,  Ernest 
Chausson,  Arthur  Coquard,  Samuel 
Rousseau,  G.  Piemfi,  Augusta  Holmes, 
Charles  Bordes,  Guy  Ropartz,  and 
Camille  Benoit.  Franck's  entire  life 
was  characterized  by  prodigious  activ- 
ity. During  many  years  he  was  cap- 
able of  teaching  ten  hours  daily  with- 
out neglecting  composition,  and  at  all 
times  he  exerted  a  profound  influence 
over  the  younger  musicians,  by  whom 
he  was  called  "  Angelic  Doctor "  and 
"  Pater  seraphicus."  Important  works 
other  than  those  mentioned  above  are : 
the  operas  "  Le  Valet  de  Ferme," 
1848;  "Hulda,"  "  Ghis61e,"  a  "Pre- 
lude, Chorale,  and  Fugue,"  1884; 
"Prelude  et  Finale,"  1889;  both  for 
piano;  the  songs  "Mariage  des  Roses," 
"  Les  Cloches  du  Soir,"  "  La  Process 
sion " ;  the  part  songs  for  female 
voices,  "La  Virge  a.  la  Crfeche," 
"  L'Ange  Gardien,"  "  Les  Danses  de 
Lormont,"  "  Soleil,"  "  Premier  Sourire 
de  Mai  " ;  "  Le  Chasseur  Maudit," 
symphonic  poem  for  orchestra,  1884; 
"  Les  Djinns,"  symphonic  poem  for 
piano  and  orchestra,  1884;  Variations, 
Symphoniques  for  piano  and  orchestra, 
1885;  Sonata  in  A  for  piano  and 
violin,  1886;  Symphony  in  D,  1889; 
Andantino  for  violin  with  piano  ac- 
companiment; Mass  for  three  solo 
voices,  chorus,  and  orchestra;  Hymne 
for  four-part  male  choir  to  Racine's 
words;  five  pieces  for  harmonium;  59 
motets  for  harmonium ;  nine  Grandes 
Pieces;  three  offertories  for  soli  and 
choir;  four  motets;  Ave  Maria,  Veni 
Creator,  for  ten.  and  bass;  O  Salu- 
taris.  Chants  d'Eglise,  in  three  and 
four  parts  with  organ  accompaniment; 
transcriptions  from  ancient  composi- 
tions for  organ,  Sonata  for  piano, 
"  Les  Trois  Exiles,"  national  song  for 
bass  and  bar.  voices ;  "  Le  Grade 
d'Honneur  '' ;  three  trios  for  piano  and 
strings,  F  sharp,  B  flat,  B  minor, 
Op.  1 ;  fourth  trio  for  piano  and 
strings,  in  B  major,  Op.  2;  Eclogue 
for  piano.  Op.  3 ; .  first  duet  on  "  God 
Save  the  King,"  for  piano,  Op.  4; 
first  Caprice  for  piano.  Op.  5;    An- 


dantino Quietoso  for  piano  and  violin, 
Op.  6;  "Souvenir  d'Aix  la  Chapelle," 
for  piano.  Op.  7 ;  piano  transcriptions 
of  four  songs  by  Schubert,  Op.  8; 
ballad  for  piano.  Op.  9 ;  solo  for  piano 
with  quintet  accompaniment,  Op.  10; 
first  grand  fantasie  for  piano  on  Da- 
layrac's  "Gulistan,"  Op.  11;  second 
grand  fantaisie  on  the  same.  Op.  12; 
fantaisie  for  piano.  Op.  13;  duet  for 
piano  and  violin  on  Dalayrac's  "  Guli- 
stan," Op.  14;  fantaisie  for  piano  on 
two  Polish  airs.  Op.  15 ;  Fantaisie  for 
organ.  Op.  16;  Grande  Piece  Sym- 
phonique  for  organ,  Op.  17;  Prelude, 
Fugue,  and  Variations  for  organ.  Op. 
18;  Pastorale  for  organ,  Op.  19; 
"Priere"  for  organ.  Op.  20;  Finale 
for  organ.  Op.  21;  Quasi  Marcia  for 
harmonium,  Op.  22.  B.  Li6ge,  Dec.  10, 
1822;   d.  NoY.  8,  1890,  Paris. 

Franck(MelcIiior)  composed  "Jeru- 
salem, du  hochegebaute  Stadt,"  "  Wenn 
ich  in  Todesnothen  bin,"  and  other 
chorales ;  "  0  Jesu,  wie  ist  deine  Ges- 
talt "  and  "  Der  Brautigam  wird  bald 
rufen"  and  other  hymns;  improved 
the  accompaniments  of  songs;  chapel- 
master  to  the  Duke  of  Coburg.  B. 
1573,  Zittau;   d.  June  1,  1639,  Coburg. 

Franco  (ISagister)  wrote  "Ars 
Cantus  Mensurabilis,"  which  is  be- 
lieved to  have  been  the  first  treatise 
on  "  Measured  Music,"  and  may  have 
invented  the  Longa,  Duplex  Longa, 
Brevis,  and  Semibrevis,  which  were 
the  four  primary  characters  employed 
in  old  NOTATION.  There  is  much 
confusion  regarding  Franco's  identity, 
and  it  is  possible  that  there  may  have 
been  three  Magister  Francos  in  the 
11th  and  12th  centuries,  as  there  are 
records  of  Franco  de  Colonia,  Franco 
Leodiensis,  Franco  Parisiensis,  Franco 
of  Cologne,  and  Franco  of  Li6ge. 

Francoeur  (Fransois)  composed 
sonatas,  operas,  and  ballets;  surin- 
tendant  de  la  musique  du  roi  at  Paris, 
1760-78.  B.  Sept.  28,  1698,  Paris;  d. 
Aug.  6,  1787.  Louis  Joseph,  wrote  on 
instrumentation ;  composed  operas ; 
conducted  and  from  1792  managed  the 
Paris  Opera.  B.  Oct.  8,  1738,  Paris; 
nephew  of  FRANCOIS ;  d.  Paris,  Mar. 
10,  1804. 

Frank  (Ernst)  composed  the  operas 


FKANKLIN 


213 


FBESEBrICK 


"  Adam  de  la  Halle,"  Carlsruhe,  1880; 
"Hero,"  Berlin,  1884;  "  Der  Sturm," 
modelled  on  Shakespeare's  "  Tempest," 
Hanover,  1887;  directed  the  chorus 
at  the  Vienna  Imperial  Opera ;  chapel- 
master  at  Hanover  in  succession  to 
von  Bulow.  B.  Feb.  7,  1847,  Munich; 
d.  Aug.  17,  1889,  near  Vienna. 

Franklin  (Benjamin)  found  time 
amidst  other  activities  to  invent  the 
HARMONICA  or  Musical  Glasses.  B. 
1706,  Boston,  Mass.;  d.  1790,  Phila- 
delphia. 

Franko  (Nahan)  played  violin, 
piano,  and  conducted;  debut  at  eight 
with  Patti,  with  whom  he  toured  the 
world;  then  studied  in  Berlin  with 
Rappoldi,  De  Ahna,  and  Wilhelmj, 
later  with  Joachim;  resumed  concert 
playing;  joined  Metropolitan  Orches- 
tra, New  York,  under  Dr.  Damrosch, 
1883,  became  concertmeister,  and 
under  H.  von  Conried,  ballet  conduc- 
tor, and  in  1905  full  conductor  with 
Vigna  and  Hertz,  the  only  American- 
born  musician  to  hold  such  a  post; 
retired  1907,  and  organized  his  own 
orchestra,  giving  concerts  in  Central 
Park  in  the  summer  of  1908  and  un- 
der private  auspices;  was  concert- 
meister for  Duss,  Warren,  and  other 
concerts  of  large  proportions.  B.  New 
Orleans,  July  23,  1861;  add.  New 
York.  Sam  played  violin  and  gave 
notable  chamber  concerts  of  old  music 
in  New  York;  taught;  debut  with  his 
brother  NAHAN  and  pupil  of  the 
same  masters,  also  of  Vieuxtemps, 
Paris;  touring  with  Patti,  equally 
proficient  as  pianist.  B.  New  Orleans, 
Jan.  20,  1857;    add.  New  York. 

Franz  (Karl)  played  French  horn 
and  Baryton  with  such  skill  that 
Haydn  composed  for  him  a  cantata 
for  Baryton  and  voice  (on  the  death 
of  Frederick  the  Great),  which  Franz 
gave  in  concert  tours,  singing  and 
playing  Baryton;  became  court  musi- 
cian at  Munich,  1787.  B.  Langen- 
bielau,  Silesia,  1738 ;   d.  1802,  Munich. 

Franz  (Bobert)  composed  257 
songs  with  piano  accompaniment, 
which  are  esteemed  the  best  lieder 
of  modem  times  aside  from  those  of 
Schubert  and  Schumann,  a  Kyrie  for 
four-part   chorus   and  solo   voices   a 


capella;  an  eight-part  setting  of 
Psalm  oxvii  for  double  chorus ;  liturgy 
for  the  Kvangelical  Church,  chorales, 
part  songs,  and  for  male  chorus; 
made  arrangements  of  the  works  of 
Bach  and  Handel,  transcribing  their 
figured  bass  accompaniments  for  mod- 
ern orchestra;  wrote  several  books  on 
music.  Son  of  Cristoph  Franz  Knauth, 
a  well-to-do  citizen  of  Halle,  who 
opposed  his  early  ambition  to  adopt 
music  as  a  profession;  young  Franz, 
as  he  preferred  to  be  known,  became  a 
pupil  of  Scheider  at  Dessau  in  1835. 
Two  years  later  he  returned  to  Halle, 
but  for  six  years  was  unable  to  obtain 
employment,  ajid  occupied  himself  in 
studying  the  works  of  Bach,  Beetho- 
ven, and  Schubert.  His  first  set  of 
songs,  published  in  1843,  aroused  the 
admiration  of  Schumann,  and  in  course 
of  time  Franz  was  made  organist  at 
the  Ulrichskirche,  conductor  of  the 
"  Singakademie,"  finally  royal  music 
director,  and  doctor  of  music  in  re- 
turn for  lectures  before  the  students 
at  Halle  University.  Deafness  and 
failing  health  compelled  him  to  retire 
from  active  work  in  1868,  and  he  suf- 
fered from  poverty  until  four  years 
lat^r,  when  Joachim,  Liszt,  and  Helene 
Magnus  gave  a  series  of  concerts  for 
his  benefit  which  netted  $25,000.  B. 
June  28,  1815,  Halle;  d.  Oct.  24,  1892, 
Halle.  See  Biography,  Dr.  W.  Walde- 
man,  Leipsic,  1893 ;  sketches  by  Saran, 
Ambros,  and  Liszt. 

Franzel  (Ferdinand)  composed 
nine  concertos  and  four  concertinos 
for  violin,  overtures,  a  symphony, 
songs,  and  operas;  appeared  as  violin 
virtuoso  at  Mannheim  at  seven;  con- 
ducted at  Munich  Opera,  1806.  B. 
Schwetzingen,  Palatinate,  May  24, 
1770;    d.  1833,  Mannheim. 

Franzton.     Qer.     French  pitch. 

Frasi.    It.    Phrases. 

Frasi  (Giulia)  sang  sop.  in  opera 
and  oratorio  under  Handel  in  London, 
1743-58. 

Freddamente.  It.  Coldness,  in- 
difference. 

Frederick  the  Great  composed  an 
overture  for  "  Galatea  ed  Acide," 
march  for  Lessing's  "Minna  von 
Barntelm,"  and  the  "  Hohenfriedberg 


FBEBEZZA 


214 


FREISCHTTTZ 


March,"  parts  of  the  opera  "  II  Re 
pastore,"  aria  for  "  II  trionfo  della 
fedelta,"  aria  for  Graun's  "  Oorio- 
lano "  ( for  which  he  wrote  the  lib- 
retto), many  concertos,  and  other 
pieces  for  flute;  played  flute  and 
clavier;  instituted  tri-weekly  singing 
lessons  in  the  Prussian  schools;  es- 
tablished a  court  band  in  Berlin,  and 
opened  a  new  opera  house  in  that  city, 
Dec.  7,  1742.  Frederick  received  his 
first  lessons  from  Gottlob  Hayn,  Cathe- 
dral organist,  and  began  to  study  flute, 
1728,  with  Quantz,  and  retained  that 
gifted  musician  in  his  employ  during 
life.  120  compositions  of  Frederick's 
were  edited  by  Spitta  and  published 
by  Breitkopf  &  Hartel,  1889.  See 
Spitta's  essay  on  this  publication.  B. 
Jan.  24,  1712,  Berlin;  succeeded  his 
father  as  King  of  Prussia,  1740;  d. 
Aug.  17,  1786,  Sans-Souci,  Potsdam. 

Fredezza,  con.  It.  With  coldness, 
with  indifference. 

Fredon.  Fr.  Vocal  ornaments; 
quaver  or  tremolo;  humming  a  tune. 

Free  Chant.  Simple  chant  for  An- 
glican Psalms  or  Canticles  with  two 
chord  phrases  to  the  hemstich  of  the 
words. 

Free  Fugue.  One  in  which  the  an- 
swer and  treatment  are  not  in  strict 
accordance  with  the  rules;  independ- 
ent melodies  added  to  a  canon  or  fugue 
to  strengthen  the  harmony. 

Free  Beed.  Organ  stops  in  which 
the  REED  principle  is  employed. 

Free  Style  is  that  in  which  the 
rules  of  counterpoint  are  not  strictly 
followed. 

Frege  (Livia  Oerhard)  sang  sop. 
in  opera  and  concert  until  her  mar- 
riage with  Dr.  Frege,  of  Leipsic,  and 
thereafter  only  in  concert  or  in  her 
own  home,  where  she  had  a  singing 
society  of  50  voices,  led  by  David  and 
conducted  by  Lange,  at  which  the  songs 
of  her  friend  Mendelssohn  were  usually 
tried  before  being  given  to  the  public ; 
pupil  of  Pohlenz.  B.  Gera,  June  13, 
1818;    d.  Leipsic,  Sept.  22,  1891. 

Fregiatura.  It.  Ornament  or 
embellishment. 

Freie  Schreibart.  Ger.  "Free 
writing";    composition  in  free  style. 

Freischutz.  Carl  Maria  von  Weber's 


three-act  opera  to  book  by  Kind  was 
first  performed  June  18,  1821,  at  Ber- 
lin, later  in  Italian,  French,  and  Eng- 
lish, and  with  new  libretti.  Mine. 
a  skilful  marksman,  loves  Agatho, 
daughter  of  Kuno,  chief  huntsman  tu 
Prince  Ottakar  of  Bohemia,  and  has 
been  promised  his  prospective  father- 
in-law's  post  if  he  can  prove  his  worth 
at  a  hunting  match,  since  Kimo  is 
about  to  retire.  Caspar,  who  also  loves 
Agathe,  but  who  has  sold  himself  to 
the  demon  Zamiel,  contrives  a  plot  by 
which  Max  is  to  be  delivered  to  the 
evil  spirit  as  a  substitute  for  himself. 
With  Zamiel's  aid  he  causes  Max's 
bullets  to  go  astray  during  a  pre- 
liminary trial  of  skill,  and  then 
prompts  the  despondent  marksman  to 
repeat  the  words  "  In  Zamiel's  name  " 
when  he  gets  another  shot.  Max  does 
so,  and  brings  down  an  eagle.  After 
this  Caspar  finds  it  easy  to  persuade 
Max  that  by  Zamiel's  aid  he  can  get 
magic  bullets  which  will  always  go 
straight  to  the  mark,  and  to  appoint 
a  meeting  in  the  Wolf's  Glen,  where 
Zamiel's  aid  can  be  evoked.  The  sec- 
ond act  discloses  Kuno's  home.  Agathe 
has  a  foreboding  of  evil  which  is  con- 
firmed by  the  despondency  of  Max, 
but  a  hermit  has  given  her  a  wreath 
of  magic  roses  which  she  hopes  will 
protect  her.  The  scene  shifts  to  the 
Wolfs  Glen,  where  Max  and  Caspar 
await  the  coming  of  Zamiel.  Spectres 
and  grotesque  beasts,  even  the  ghost 
of  his  mother  fail  to  move  Max  from 
his  purpose,  and  when  Zamiel  appears 
seven  bullets  are  cast.  Six  are  to  be 
used  by  Max,  but  the  seventh  is  to  be 
directed  at  Zamiel's  pleasure.  In  the 
third  act  we  see  Agathe  preparing  for 
her  wedding.  She  tells  Annchen 
about  a  dream  in  which  she  had  as- 
sumed the  form  of  a  dove,  and  had 
been  struck  down  by  one  of  Max's 
bullets,  but  becomes  less  melancholy 
as  she  dons  the  wreath  of  roses  given 
her  by  the  hermit.  Then  the  scene 
again  shifts  to  the  field  in  which  the 
marksmen  are  exhibiting  their  skill 
before  Prince  Ottakar  and  his  court. 
Six  times  have  Max's  bullets  gone 
straight  to  the  mark.  The  seventh 
bullet   is   fired,   by   command   of  the 


FBEKSTAB 


215 


FBEZZOItlNI 


Prince,  at  a  dove.  Agathe  cries :  "  I 
am  the  dove,"  and  falls  to  the  ground. 
Then  Max  confesses  that  he  has  been 
in  league  with  Zamiel,  at  which  Otta- 
kar  orders  him  into  exile.  But  it 
appears  that  the  wreath  of  roses  has 
saved  Agathe.  She  is  only  stunned, 
and  the  bullet  directed  by  Zamiel  has 
slain  Caspar.  Then  the  hermit  inter- 
cedes for  the  unfortunate  lover,  and 
it  is  arranged  tha,t,  after  a  year  of 
penance.  Max  is  to  become  chief  hunts- 
man and  marry  Agathe.  The  overture 
has  long  been  a  fa,vourite  in  the  con- 
cert room.  The  principal  musical 
numbers  are:  Act  I:  "  O  diese  Sonne, 
furchtbar  steigt  sie  mir  empor,"  Max, 
Kuno,  Caspar,  and  chorus ;  "  Durch 
die  Walder,"  Max ;  "  Hier  im  ird' 
schen  Jammerthal,"  Caspar ;  "  Tri- 
umph !  die  Rache,  die  Bache  gelingt " ; 
Act  II:  "Sehelm!  halt  f est,"  Agathe; 
"Kommt  ein  schlanker  Bursch  ge- 
gangen,"  Annchen ;  "Leise,leise,fromme 
Weise,"  Agathe;  "Wie?  was?  Entset- 
zen,"  Max,  Annchen,  Agathe;  Incan- 
tation Music  at  Wolf's  Glen;  Act  III: 
"  Und  ob  die  Wolke  sie  verhiille," 
Agathe;  "Einst  traumte  meiner  sel'- 
gen  Base,"  Annchen;  "Wir  winden 
air  den  Jungfern-Kranz,"  Bridal  Cho- 
rus ;  "  Was  gleicht  wohl  auf  Erden 
dem  Jagervergniigen,"  Hunting  Chorus. 
The  original  cast  was:  Ottakar,  Ru- 
benstein,  bar.;  Kuno,  Waner,  bass; 
Caspar,  Heinrieh  Blume,  bass;  Max, 
Karl  Stumer,  ten. ;  Hermit,  Gem,  bass ; 
Killian,  Wiedemann,  ten.;  Agathe, 
Karoline  Seidler,  sop.;  Annchen,  Jo- 
hanna Eunike,  sop. 

Eremstad  (Anna  Olivia)  made  her 
operatic  debut  in  1895  as  Azucena  in 
"Trovatore";  sang  in  Bayreuth  Festi- 
val, 1896 ;  at  the  Royal  Opera,  Vienna, 
as  Brangane  in  "  Tristan  and  Isolde," 
1897,  and  was  engaged  for  three  years, 
from  1900,  at  the  Munich  Opera,  where 
she  was  very  popular  as  Carmen.  Dur- 
ing this  engagement  she  appeared  two 
seasons  at  Covent  Garden,  London, 
where  she  first  sang  the  rSle  of  Venus, 
and  in  1903  joined  the  artists  at  the 
Metropolitan  Opera  House,  New  York, 
where  she  was  heard  in  these  rSles, 
and  likewise  as  Fricka,  Briinhilde, 
Kundry,  Selika,  Santuzza,  Isolde,  and 


as  Salome  in  the  Strauss  opera  of 
that  name.  Brought  to  America  at 
the  age  of  12  by  her  parents,  who 
settled  at  St.  Peter,  Minn.,  Madame 
Fremstad,  who  had  played  piano  in 
public  at  nine  soon  organized  a  music 
class,  but  in  1890  settled  in  New  York 
and  became  soloist  at  St.  Patrick's 
Cathedral.  In  1893  she  began  an  18 
month  sojourn  in  Berlin  as  a  pupil  of 
Lilli  Lehmann.  She  was  favourably 
received  in  Paris  as  Salome  and  like- 
wise in  the  name  part  of  Bruneau's 
opera  "  Veronique."  The  French  gov- 
ernment made  her  an  officer  of  the 
Academy,  and  in  1907  officer  of  Public 
Instruction.  B.  Stockholm,  Sweden; 
m.  Edson  Webster  Stuphen,  April  15, 
1906;   add.  New  York. 

French  Horn.  Popular  name  of 
the  orchestral  HORN,  so  called  from 
its  having  been  first  employed  in 
France  as  a  hunting  horn. 

French  Sixth.     Altered  SIXTH. 

French  Violin  Clef.  G  clef  placed 
on  the  first  line  of  the  stave. 

Frescobaldl  (Girolamo)  became  the 
most  celebrated  of  17th  century  organ- 
ists, attracting  an  audience  of  30,000 
at  his  first  performance  in  St.  Peter's, 
Rome,  where  he  played  from  1608  to 

1643,  except  for  five  years  spent  with 
the  Grand  Duke  of  Tuscany;  composed 
madrigals,  four-part  fantasies;  12 
toccatas,  and  other  organ  music; 
taught  Froberger;  pupil  of  Luzzachi. 
B.  Sept.  9,  1583,  Ferrara;    d.  Mar.  2, 

1644,  Rome. 

Frets  are  small  transverse  ridges 
of  wood  or  ivory  which  mark  the 
chromatic  division  of  the  fingerboard 
of  guitars  and  lutes,  forming  a  tem- 
porary nut  when  strings  are  brought 
in  contact  with  them  by  pressure  of 
the  fingers.  Frets  are  common  to  all 
stringed  instruments  of  oriental  ori- 
gin, and  were  once  employed  for  the 
viols,  but  abandoned  owing  to  difficul- 
ties of  temperament  in  extreme  keys, 
and  the  fact  that  slurs  are  impossible 
on  fretted  instruments. 

Fretta,  con.  It.  With  haste  or 
speed. 

Frezzolini  (Erminia)  sang  sop. 
in  opera,  debut  Florence,  1838,  in  Lon- 
don, St.  Petersburg,  and  America.    B. 


FBIBERTH 


216 


FRUYTIEEiS 


Orvieto,  1818;    m.  the  tenor,  Poggij 
d.  Nov.  5,  1884,  Paris. 

Friberth  (Karl)  wrote  operas 
libretti;  composed  church  music; 
sang  ten.  at  St.  Stephen's  and  court 
opera,  Vienna;  m.  Maria  M.  Spangler, 
with  whom  he  had  sung  in  Estahazy's 
service  under  Haydn ;  made  Knight  of 
the  Golden  Spur  by  Pius  VI  while 
touring  Italy.  B.  June  7,  1736,  Wul- 
lersdorf,  Lower  Austria;  d.  Aug.  6, 
1816,  Vienna. 

Frichot  claimed  to  have  invented 
the  ophicleide.  B.  France,  settled  in 
London,  1790. 

Friok  (Philip  Joseph)  played  or- 
gan and  harmonica;  wrote  on  music. 
B.  May  27,  1740,  near  Wurzburg;  d. 
June  15,  1798. 

Frickenhaiis  (Fanny  Evans) 
played  piano  and  gave  London  cham- 
ber concerts  with  Joseph  Ludwig,  at 
which  important  novelties  were  pro- 
duced. B.  June  7,  1849,  Cheltenham; 
m.  Augustus  EViokenhaus;  add. 
London. 

Friderici  (Daniel)  composed  the 
four-part  madrigal  "  Einstmals  das 
Kind  Cupido  "  and  other  secular  mu- 
sic; cantor,  1617-54,  at  the  Marien- 
kirche,  Eostock,  Mecklenburg.  B.  near 
Eisleben,  about  1600. 

Friedbeim  (Arthur)  played  piano 
and  conducted;  debut  in  St.  Peters- 
burg at  eight,  when  he  played  Field's 
A  major  concerto;  friend  and  pupil  of 
Liszt;  taught  and  played  in  America, 
1894;  taught  in  Royal  College  of 
Music,  Manchester,  Eng.,  but  re- 
signed 1904 ;  composed  the  opera  "  Die 
Tanzerin "  to  his  own  libretto.  B. 
Oct.  26,  1859,  St.  Petersburg;  add. 
London. 

Friedlander  (Max)  edited  vocal 
music  of  Schubert,  Schumann,  and 
Gluck;  taught  music  University  of 
Berlin;  sang  bar.  in  concert;  pupil 
of  Manuel  Garcia  and  Stockhausen. 
B.  Oct.  12,  1852,  Brieg,  Silesia;  add. 
Berlin. 

Friedlander  (Thekla)  sang  sop.  in 
concert,  excelling  in  the  songs  of  Schu- 
bert, Schumann,  and  Brahms;  debut 
1873  at  the  Gewandhaus,  Leipsic; 
pupil  of  Ferdinand  Hiller  and  Scheider, 
Cologne. 


Frisch.     Ger.    Lively. 
Fritz     (Barthold)     built    organs, 
clavecins,  and  clavichords.     B.  Bruns- 
wick, 1697;  d.  July  17,  1766,  Bruns- 
wick. 

Froberger  (Johann  Jacob)  held 
the  post  of  court  organist  at  Vienna, 
1637  to  1657;  journeyed  to  England, 
was  robbed  on  the  way,  and  compelled 
by  poverty  to  accept  a  place  as  organ 
blower  at  Westminster  Abbey,  where 
Christopher  Gibbons,  the  organist,  beat 
him  for  overblowing  the  instrument. 
By  improvising  at  the  organ  on  this 
occasion,  he  attracted  the  attention  of 
a  former  pupil,  who  presented  him  to 
Charles  II.  Froberger  was  a  prolific 
composer  for  organ  and  clavier,  had 
been  a  favourite  pupil  of  Frescobaldi, 
and  was  himself  a  gifted  teacher.  B. 
Halle,  Saxony;  son  of  the  Cantor;  d. 
May  7,  1667,  at  the  home  of  his  pupil 
the  Duchess  of  Wiirtemberg,  Hericourt 
near  Montbelliard.. 
Frohlich.  Ger.  Joyful,  cheery. 
Frbhlich  (Anna)  suggested  to  the 
Austrian  poet  Grillparzer  the  "  Sere- 
nade "  and  "  Song  of  Miriam,''  which 
Franz  Schubert  composed  with  other 
music  she  inspired;  played  piano  and 
sang;  pupil  of  Hummel,  Hauss,  and 
Siboni;  taught  vocal  in  Vienna  Con- 
servatory. B.  Sept.  19,  1793,  Vienna. 
Barbara  sang  con.;  m.  Ferdinand 
Bogner,  honorary  flautist  at  the  Con- 
sei-vatory.  B.  Aug.  30,  1797,  Vienna; 
sister  of  ANNA.  Josephine  sang  in 
opera  and  concert  with  great  success 
in  Italy,  Austria,  and  Scandinavia; 
court  singer  to  King  of  Denmark; 
pupil  of  her  sister  ANNA  and  of 
Siboni.  B.  Dec.  12,  1803,  Vienna;  d. 
May  7,  1878.  Katherina  was  the  in- 
timate associate  of  Grillparzer,  and  is 
said  to  have  been  the  inspiration  of 
many  of  his  songs.  B.  June  10,  1800; 
sister  of  ANNA;   d.  Mar.  3,  1879. 

Frosch.  Oer.  Lower  end  of  a 
violin  bow  to  which  the  strand  of  hair 
is  fastened. 

Frottola.  It.  Ballad,  either  comic 
or  sentimental. 

Fruytiers  (Jan)  wrote  and  com- 
posed a  Dutch  metrical  version  of  the 
book  of  Ecclesiastes,  Antwerp,  1565, 
many  of  the  tunes  being  popular  songs. 


F   SCHLtJSSEL 


317 


FtTGTTE 


T  Schlussel.  Ger.  F  or  basa 
CLEF. 

ruchs  (Aloys)  sang  bass  in  Vienna 
Imperial  chapel;  wrote  for  musical 
journals;  made  valuable  collection  of 
autographs,  music,  books,  and  por- 
traits. B.  June  23,  1799,  Rasse,  Sile- 
sia;   d.  Mar.  20,  1853,  Vienna. 

Fuchs  (Anton)  sang  bar.  and  made 
specialty  of  operatic  stage  manage- 
ment, Munich  Opera,  Metropolitan 
Opera  House,  New  York,  Festspiel- 
haus,  Bayreuth.  B.  Jan.  29,  1849, 
Munich;    add.  Munich. 

Fuchs  (Carl)  played  'cello;  taught 
'cello.  Royal  College  of  Music,  Man- 
chester, Eng.  B..  Offenbach,  Ger., 
1865;     add.   Manchester. 

Fuchs  (Ferdinand  Carl)  composed 
songs  and  two  operas,  Vienna,  1842. 
B.  Feb.  11,  1811,  Vienna;  d.  Jan.  7, 
1848,  Vienna. 

Fuchs  (George  Friedrich.)  com- 
posed for  wind  instrument;  taught 
clarinet  Paris  Conservatoire.  B.  Dee. 
3,  1752,  Mayence;  d.  Oct.  9,  1821, 
Paris. 

Fuchs  (Johann  Nepomuk)  com- 
posed the  opera  "  Zingara,"  Vienna, 
1872;  ch^pelmaster  at  Vienna  Opera, 
1880;  director  Vienna  Conservatory, 
1894.  B.  May  5,  1842,  Frauenthal; 
add.  Vienna. 

Fuchs  (Karl  Dorius  Johann) 
played  piano;  conducted;  wrote  music 
criticism ;  pupil  of  von  Billow ;  wrote 
(with  Hugo  Riemann)  "  Praktische 
Anleitung  zum  Phrasieren,"  Eng. 
trans.  New  York,  1886.  B.  Oct.  22, 
1838,  Potsdam;    add.   Dantzic. 

Fuchs  (Robert)  composed  five  sere- 
nades for  strings,  symphony  in  C, 
Op.  37;  two  operas,  chamber  music, 
a  Mass,  piano  concerto ;  taught  theory 
Vienna  Conservatory.  B.  Feb.  15, 
1847,  Frauenthal,  brother  of  JOHANN 
NEPUMUK;    a,dd.  Vienna. 

Fuentes  (Bon  Pasquale)  composed 
a  Beatus  Vir  and  other  church  and 
secular  music;  chapelmaster  Valencia 
Cathedral.  B.  Albaida,  Valencia, 
about  1700;  d.  April  26,  1768, 
Valencia. 

Fuga.  L.    FUGUE. 

Fugato.  It.  Fugal  in  slyle  but 
not  in  strict  fugue  form. 


Fuge.     Ger.    FUGUE. 

Fughetta.  It.  Fugue  in  condensed 
form. 

Fughette.     Ger.    Short  fugue. 

Fugue  is  a  contrapuntal  form  of 
composition  which  takes  its  name  from 
the  Latin  word  "  fuga,"  a  flight,  and 
which  is  characterized  by  a  theme  in- 
troduced by  a  single  voice  which  one 
or  more  voices  pursue.  This  first 
theme  is  called  the  Subject.  It  is 
made  as  short  as  possible,  consistent 
with  the  definite  expression  of  a  mus- 
ical idea,  and  is  so  constructed  as  to 
permit  the  entrance  of  a  second  voice 
before  its  conclusion.  The  second 
voice  then  enters  with  the  Answer, 
which  may  be  a  repetition  of  the  Sub- 
ject in  another  key,  usually  that  of 
the  dominant  if  the  Subject  is  in  the 
tonic;  and  while  the  Answer  is  being 
uttered,  the  first  voice  follows  it  in 
counterpoint,  sometimes  evolving  a 
definite  theme,  which  is  called  Counter 
Subject,  and  is  developed  later.  The 
entrance  of  a  third  voice  is  sometimes 
delayed  by  the  introduction  of  a  short 
passage  called  the  Codetta,  leading 
back  to  the  original  key  of  the  Sub- 
ject, which  is  then  announced  by  the 
third  voice,'  the  others  following  in 
counterpoint.  .This  completes  the  Ex- 
position of  the  fugue,  and  then  follows 
either  an  Extra  Entry  of  the  Subject 
or  a  Counter  Exposition,  in  which  the 
Answer  is  usually  given  before  the 
Subject,  suid  both  may  be  in  inver- 
sion. The  Episode  follows  next,  pre- 
senting new  material  with  free  imi- 
tation and  modulations  to  related 
keys.  Several  such  Episodes  bound 
together  by  contrapimtal  treatment, 
in  the  course  of  which  Subject,  An- 
swer, and  Counter  Subject  (if  there 
be  one)  make  their  appearance  in 
original  form  or  altered  by  Augmen- 
tation, Diminution,  Inversion,  or  by 
Cancrizans  motion.  At  this  point 
comes  the  Stretto,  the  re-entrance  of 
the  Subject  or  Answer  and  Subject, 
and  with  this  begins  the  Finale  of  the 
fugue.  This  Final  section  is,  in  fact, 
often  called  the  Stretto.  Here  is  a 
return  to  the  original  key,  the  Sub- 
ject is  worked  up  to  a  climax  and  the 
conclusion  follows.     The  fugue  which 


FXJHB.EB 


318 


FXrBSTENAXJ 


has  been  described  is  a  single  fugue 
in  three  parts.  Double,  Triple,  and 
Quadruple  fugues  are  those  in  which 
the  Subject  is  announced  in  two,  three, 
or  four  parts,  or  as  Cherubini  would 
have  it,  "  with  one,  two,  or  three  Coun- 
ter Subjects."  Fugues  are  classified 
according  to  the  number  of  parts,  as 
fugues  a  2,  a  3,  a  4,  etc. ;  by  the  rela- 
tion of  Subject  and  Answer,  as  fugues 
by  Inversion,  Augmentation,  or  Dimin- 
ution; by  key  relations,  as  the  Tonal 
Fugue,  in  which  the  Answer  must  re- 
main in  a  given  key  or  compass,  or 
the  Real  fugue,  where  the  Answer  is 
given  note  for  note  at  a  measured  in- 
terval to  the. Subject.  A  fugue  is  said 
to  be  Strict  if  the  laws  of  fugue  are 
closely  adhered  to,  and  Free  if  they 
have  been  violated.  A  Chromatic 
fugue  is  one  in  which  there  are  many 
chromatic  passages;  a  Diatonic  fugue 
is  one  in  which  diatonic  relations  pre- 
dominate. Fugues  likewise  take  the 
names  of  the  MODES  in  which  they 
are  composed.  From  what  has  been 
said  it  must  be  apparent  that  fugues 
are  of  infinite  variety.  All  were  de- 
veloped from  mediaeval  Counterpoint, 
and  there  is  an  endless  Latin  nomen- 
clature, of  which  a  single  example 
need  be  given  "  Fuga  per  Canonem," 
or  fugue  according  to  canon,  which  we 
now  call  CANON.  See  Fux's  "  Gradus 
ad  Pamassum,"  1725,  for  the  first 
definite  codification  of  the  laws  of 
fugue;  Marpurg,  1753;  Albreohts- 
berger,  1790;  Cherubini,  1833;  Rich- 
ter,  1876;  primers  in  Eng.,  by  J. 
Eiggs  and  E.  Prout. 

Fiihrer.  Ger.  Subject  of  a 
FUGUE;    leader  or  director. 

Fiihrer  (Bobert)  wrote  a  handbook 
for  choirmasters,  method  for  pedal 
organ,  "Praktische  Anleitung  zu  Or- 
gelcompositionen  " ;  composed  masses 
and  organ  music;  published  in  his 
own  name  Schubert's  Mass  in  G.  B. 
June  2,  1807,  Prague;  d.  Nov.  28, 
1861,  Vienna. 

Fulda,  de  (Adam)  wrote  a  famous 
"Tract  on  Music,"  in  which  he  eiilo- 
gizes  Guilielmus  Dufay  as  the  first  to 
compose  in  regular  form,  1490;  com- 
posed a  four-part  motet,  republished 
by  Glareanus;    court  musician  to  the 


Bishop   of   Wiirzberg.     B.   Franconia 
about  1450;    entered  the  church. 

Full  Anthem.  ANTHEM  in  which 
there  are  neither  solos  nor  verses. 

Full  Cadence.    Perfect  CADENCE. 

Full    Chord.      CHORD    in    which 

some    essential    notes    are    doubled; 

chord  which  brings  out  the  full  power 

of  orchestra  or  choir  or  instrument. 

Full  Organ.  Great  Organ  with  all 
stops  in  use. 

Full  Score.  SCORE  giving  all 
parts  for  both  voices  and  instruments. 

Fiillstimmen.  Oer.  Additional 
parts  for  either  voices  or  instruments. 

Full  Stop.  In  lute  music  full 
chord  followed  by  pause;  chord  in 
which  all  available  fingers  are  em- 
ployed in  stopping  the  strings. 

Fumagalli  (Adolfo)  played  piano 
in  concert;  composed  salon  music; 
pupil  of  Milan  Conservatory.  B.  Oct. 
19,  1828,  Inzago,  Milan;  d.  May  3, 
1856,  Florence.  Luca  composed  the 
opera  "Luigi  XI,"  Florence,  1875; 
played  piano.  B.  May  29,  1837,  brother 
of  ADOLFO.  Disma  and  Polibio, 
brothers  of  ADOLFO  and  LUCA,  were 
also  pianists. 

Fundamental  Bass.  Root  notes  of 
chords. 

Fundamental  Tones.  Tones  from 
which  harmonics  are  produced. 

Funebre.  Fr.  Funereal;  dirge- 
like. 

Funerale.    It.    Funereal. 

Fiinffaoh.     Ger.    Fivefold. 

Fiinfstimmig.    Ger.    In  five  voices. 

Funzione.  /*.  "  Functions,"  term 
applied  to  music  performed  in  the 
Italian  churches. 

Fuoco,  con.     It.    With  fire. 

Fuocoso.     It.    Fiery. 

Furia,  con.    It.    With  fury. 

Furiant.  Term  employed  by  Dvorak^ 
to  describe  fiery  movement  of  the 
scherzo  type. 

Furioso.     It.     Furiously. 

Furlano.    It.    The  FORLANA. 

Furniture.     Mixture  organ  stop. 

Furore,  con.  It.  With  fury  or 
passion. 

Fiirstenau  (Caspar)  played  flute  in 
the  bands  of  the  Bishop  of  Miinster 
and  Duke  of  Oldenburg  and  in  concert 
tours.    B.  Munster,  Feb.  26,  1772;   d. 


FUSA 


219 


OABRIEItLI 


May  11,  1819,  Oldenburg.  Anton 
Bernhard  wrote  two  methods  for 
flute;  pupil  of  his  father  CASPAR, 
with  whom  he  played  at  an  Oldenburg, 
court  concert  at  seven;  accompanied 
von  Weber  on  his  last  journey  to  Lon- 
don ;  played  in  Dresden  Court  Orches- 
tra 32  years,  from  1820.  B.  Oct.  20, 
1792,  Munster;  d.  Dresden,  Nov.  18, 
1852.  HCoritz  became  flautist  in  the 
Dresden  Royal  Band  at  17;  wrote  on 
the  history  of  music;  taught  flute 
Dresden  Conservatory;  eustos,  royal 
collections  of  music.  B.  July  26,  1824, 
Dresden;  son  of  ANTON  BERN- 
HARD;    d.  Mar.  25,  1889,  Dresden. 

Fusa.    It.    Quaver. 

Fusee.    Fr.    Roulade  or  shake. 

Fusella.     L.     Semiquaver. 

Fuss.     Ger.     Foot. 

Fux  (Johann  Joseph.)  wrote 
"  Gradus  ad  Parnassum,"  a  Latin 
work  on  music  in  dialogue  form  which 
deals  with  the  theory  and  art  of  com- 
position. This  was  studied  by  Haydn 
and  formed  the  basis  of  his  teaching, 
has  been  translated  in  French,  German, 
Italian,  and  English,  and  has  served 
as  the  text  book  for  many  generations 
of  students  and  composers.  Fux  be- 
came organist  in  Vienna  in  1696; 
and  received  in  rapid  succession  ap- 
pointments as  court  composer,  chapel- 
master  at  St.  Stephen's,  chapelmaster 
to  the  Dowager  Empress  Wilhelmine 
Amalie;  then  to  Emperors  Leopold  I, 
Joseph  I,  and  Charles  VI.  Besides 
being  the  most  successful  teacher  of 
his  day,  Fux  was  a  prolific  composer 
and  a  complete  master  of  counterpoint. 
His  compositions  include  "  Costanza  e 
Fortezza,"  an  opera  written  for  the 
coronation  of  Charles  VI,  and  other 
forgotten  dramatic  works,  a  cele- 
brated "  Missa  Canonica,"  50  masses 
in  all,  3  requiems,  57  vespers  and 
psalms,  22  litanies,  12  graduals,  14 
offertories,  2  Dies  Ira,  etc. ;  405  of  his 
compositions  are  yet  extant.  B.  1660, 
Hirtenfeld,  Styria;  d.  Feb.  13,  1741, 
Vienna. 

Fz.    Abbreviation  for  FORZANDO. 


a  is  the  fifth  tone  of  the  natural 
scale  of  C;    is  the  name  of  the  major 


scale  having  F  sharp  in  its  signature, 
of  which  the  relative  minor  is  E;  of 
the  minor  scale  having  B  fiat  and  E 
flat  in  its  signature,  of  which  the  rela- 
tive major  is  B  flat  major.  G  gives 
its  name  to  the  fourth  or  lowest  string 
of  the  violin,  the  third  string  of  violas 
and  'cellos,  and  to  the  Treble  Clef,  the 
sign  for  which  is  a  corruption  of  the 
letter.  G  is  the  first  note  of  the  Mixo- 
Lydian  church  MODE;  the  lowest 
note  of  the  grave  Hexachord,  called 
the  Guidonian  system  "  Gamma  ut," 
from  which  the  word  GAMUT  is  de- 
rived. G  is  the  abbreviation  for 
gauche  "left"  in  French,  as  m.  g., 
main  gauche,  "  left  hand." 

Gabel.     Ger.    Fork. 

Oabelton.  Ger.  The  note  A 
sounded  by  a  tuning  fork. 

Gabler  (Johann)  built  the  famous 
organ  in  the  abbey  of  Weingarten, 
1750 ;  established  his  business  at  Ulm. 
D.  about  1784. 

Grabriel  (Mary  Ann  Virginia) 
composed  the  cantata  "  Evangeline  " 
to  Longfellow's  words,  "  Dreamland," 
the  operetta  "  Widows  bewitched," 
1867,  and  songs.  B.  Feb.  7,  1825, 
Banstead,  Surrey,  Eng. ;  m.  George  E. 
March,  1874;    d.  Aug.  7,  1877. 

Gabriel  (Blax)  composed  the  oper- 
ettas "  Steffen  Langer,"  Magdeburg, 
1889;  "Der  Freiwerber,"  1890;  "  Der 
Garde-Uhlan,"  Breslau,  1892;  con- 
ductor Residenz  Theatre,  Hanover; 
add.  Hanover. 

Gabriel!  (Andrea)  composed 
"  Psalmi  Davidici,"  masses  and  other 
church  music,  madrigals,  choruses  for 
"  Oedipus  Tjirannus,"  1585 ;  played 
organ  at  St.  Mark's,  Venice,  1566-86; 
ranked  with  the  best  contrapuntists 
of  his  day;  pupil  of  Adrian  Willaert." 
B.  1510,  Venice;  d.  1586.  Giovanni 
composed  "  Sacrae  symphoniae,"  1597, 
which  includes  motets  for  16  voices, 
and  a  second  collection,  1615,  which 
contains  compositions  in  19  parts; 
played  organ  at  St.  Mark's,  Venice; 
pupil  of  his  uncle,  ANDREA,  and 
teacher  of  Heinrich  Schutz,  Alois 
Grani,  and  Michael  Pretorius.  B. 
1557,  Venice;  d.  Aug.  12,  1613,  Venice. 

Gabrielli  (Catterina)  sang  sop.  in 
opera  throughout  Europe  with  distin- 


GABBIKLLI 


220 


GADSBY 


guished  success;  called  la  Coohetra 
or  Cochetina  because  she  was  daugh- 
ter of  Prince  Gabrielli's  cook;  pupil 
of  Garcia  la  Spagnoletto  and  of  Por- 
pora,  she  fascinated  Metastasio,  Fran- 
cis I,  was  imprisoned  by  the  Infant 
Don  Philip,  who  was  madly  in  love 
with  her,  fled  to  Russia,  where  she 
demanded  5000  ducats  per  annum  for 
singing  to  Catherine  II,  and  when  the 
Empress  said  that  was  more  than  she 
paid  her  field  marshals,  replied,  "  Let 
your  field  marshals  sing  for  you."  B. 
Nov.  12,  1730,  Rome;  d.  1796,  Rome. 
X'raucesca  sang  second  rdles  in  opera 
with  her  sister  CATTERINA.  B. 
1755,  Ferrara;    d.  1795,  Venice. 

Gabrielli  (Count  ITicolo)  com- 
posed 60  ballets  and  22  operas.  B. 
1814,  Naples;    d.  1891. 

Gabrielli  (Domeuico)  composed 
"  Cleobulo  "  and  ten  other  operas,  the 
oratorio  "  S.  Sigismondo,  re  di  Bor- 
gogno " ;  president  of  the  Bologna 
Societa  Filarmonica ;  called  "  II  Meng- 
hino  del  violoncello  because  of  his 
skill  as  'cellist.  B.  1640,  Bologna;  d. 
July  10,  1690. 

Gabrilowitsch  (Ossip)  played 
piano  in  concert  in  principal  cities  of 
Europe  and  America ;  pupil  St.  Peters- 
burg Conservatory,  under  Rubenstein, 
and  of  Leschetizky  in  Vienna;  com- 
posed piano  music.    B.  Jan.  26,  1878. 

Gabussi  (Giulio  Cesare)  composed 
madrigals  published  1580  and  1598, 
and  church  music,  published  1619  and 
1623;  chapelmaster  to  Milan  Cathe- 
dral and  to  the  King  of  Poland.  B. 
Bologna. 

Gabussi  (Vincenzo)  composed 
vocal  duets,  the  operas  "  Ernani," 
Paris,  1834;  "  Clemenza  di  Valois," 
Venice,  1841;  taught  singing  in  Lon- 
don. B.  Bologna;  d.  London,  Sept. 
12,  1846. 

Gade  (Niels  Willieliii)  composed 
symphonies,  chamber  music,  operas, 
and  songs  which  ranked  him  with  the 
foremost  of  modem  Scandinavian  com- 
posers. His  father  was  an  instrument 
maker,  and  as  a  boy  Gade  learned  a 
little  about  several  instruments,  and 
later  developed  rapidly  under  Wex- 
schall,  Berggreen,  and  Weyse,  enter- 
ing the  royal  orchestra  at  Copenhagen 


as  a  violinist,  and  won  the  prize  of 
the  Copenhagen  Musical  Union  with 
his  overture  "  Ossian."     The  King  of 
Denmark  then  allowed  him  a  pension, 
which  permitted  him  to  go  to  Leipsie, 
where  he  perfected  himself  in  music, 
became  the  friend  of  Mendelssohn  and 
Schumann,  and  acted  as  Mendelssohn's 
assistant  and   substitute   at  the  Ge- 
wandhaus  concerts.     In   1848   he  be- 
came   organist   and    director    of   the 
Musikverein     in     Copenhagen,     later 
court  chapelmaster,  Professor,  Profes- 
sor, Ph.D.,  and  Knight  Commander  of 
the  Order  of  Dannebrog.     His  most 
notable  compositions  are:  Symphonies 
No.  1,  in  C  minor.  Op.  5;   No.  2,  in  E, 
Op.  10;    No.  3,  in  C,  Op,  14;    No.  4, 
in  B  flat.  Op.  20;    No.  5,  in  D  minor, 
Op.  25;    No.  6,  in  G  minor.  Op.  32; 
No.  7,  in  F,  Op.  45 ;  No.  8,  in  B  minor, 
Op.  47;   violin  concerto,  Op.  56;  "Der 
Strom,"  cantata  for  soli,  choir;  obli- 
gato,   piano,   and  orchestra.  Op.   64; 
"  Balduers   Drom,"   cantata  for  soli, 
orchestra,  and  choir;    March  for  the 
funeral  of  Frederick  VII,  1863;  "  Fest- 
musik,"  for  the  opening  of  the  Copen- 
hagen   Exposition,    1872;    "Munster- 
mode,"   for  the  Artists'  Congress  at 
Copenhagen,  1883;  "  Festmarsch,"  for 
the   Jubilee   of   Christian   IX,    1888; 
Jubilee  work  for  Copenhagen  Univer- 
sity,   1879;     the    opera    "Marietta"; 
four  sonatas  for  violin  and  piano ;  the 
orchestral   suite   "  Holbergiana" ;   the 
cantatas  "Psyche,"  "Comala,"  "Fruh- 
lingsfantasie,"     "Elverskud"     (Earl 
King's     Daughter) ;     "  Fruhlingsbot- 
schaft,"   "Die  heilige  Nacht,"   "Ved 
Solnedgang,"      "  Kalanus,"     "  Zion," 
"Die  Kreuzfahrer"  (The  Crusaders), 
"Den  Bjaergstagne,"  " Gefion,"  string 
quintet  in  E  minor.  Op.  8,  the  concert 
overtures  "Hamlet,"  " Michaelangelo," 
and  "  Im  Hochland,"  and  many  songs 
for   solo   voice   and   part   songs.     B. 
Feb.  22,   1817,  Copenhagen;    d.  Dec. 
21,  1890,  Copenhagen. 

Gadsby  (Henry)  composed  "Lord 
of  the  Isles,"  Brighton  Festival,  1879 ; 
"  Columbus,"  for  male  voices,  Crystal 
Palace,  London,  1881;  symphonies  in 
C,  A,  and  D;  "The  Witches'  Frolic" 
and  the  "  Golden  Legend,"  overtures ; 
"The    Forest    of   Arden,"    orchestral 


6ADSEY 


231 


GALITZIN 


scene;  music  to  Alcestis,"  1876;  organ 
concerto  in  F;  services,  anthems, 
songs,  part  songs;  played  organ; 
taught  harmony.  Queen's  College,  Lon- 
don. B.  Dec.  15,  1842,  London;  add. 
London. 

Gadsky  (Johanna)  sang  sop.  in 
opera,  chiefly  Wagnerian  rSles,  Metro- 
politan Opera  House,  New  York,  Co- 
vent  Garden,  London,  Bayreuth  Fest- 
spielhaus  (Eva  in  "  Meistersinger  "). 
B.  Anclam,  Prussia,  June  15,  1871; 
m.  H.  Tauscher,  1892 ;  add.  New  York. 

Oaf ori  (X'rancliino)wrote  on  music ; 
priest  and  chapelmaster  at  Milan 
Cathedral;  also  called  Franchinus 
Gafumius.  B.  Jan.  14,  1451,  Ospita- 
letto,  near  Lodi;  d.  June  24,  1522, 
Milan. 

Gagliano  (Alessandro)  made  ex- 
cellent violins;  pupil  of  Stradivarius. 
His  instruments  are  dated  Naples,  1695 
to  1725.  Nicole,  1700-40,  and  Gen- 
naro,  1710-50,  sons  of  ALESSAN- 
DRO, succeeded  to  his  business.  Fer- 
dinando  made  inferior  instruments, 
but  founded  a  factory  for  making 
violin  strings,  which  continues  to  bear 
a  high  reputation.  B.  1736,  Naples; 
son  of  NICOLO;    d.  1781. 

Gagliano,  da  (Marco)  composed 
the  opera  "  Dafne,"  which  Jaoopo  Peri 
said  was  a  finer  setting  of  Rinuccini's 
words  than  any  other,  and  contained 
several  songs  by"  Cardinal  Ferdinando 
Conzaga,  his  patron;  founded  the  Ac- 
cademia  degl'  Elevati  at  Florence, 
1607,  for  the  encouragement  of  music; 
priest,  Apostolic  Prothonotary,  and 
chapelmaster  to  the  Florence  Cathe- 
dral and  to  the  Grand  Duke  of  Tus- 
cany. B.  1602,  Gagliano,  near  Flor- 
ence; d.  Feb.  24,  1642,  Florence.  Gio- 
vanni Battista  composed';  taught 
sacred  music  at  S.  Lorenzo,  Florence; 
pupil  of  his  elder  brother,  MARCO, 
and  priest.  B.  1585,  Florence;  d. 
1650. 

Gagliarda.    It.    GALLIARD. 

Gai.    Fr.    Gay. 

Gailhard  (Pierre)  became  manager 
of  the  Paris  Grand  Opera  with  Ritt, 
1884-91;  with  Bertrand,  1893-99, 
when  he  was  made  sole  manager, 
on  Bertrand's  death,  to  1908;  pro- 
duced   many   new   works    by   French 


composers;  brought  out  the  singers 
AoktS,  Breval,  Caron,  Eames,  Melba, 
Alvarez,  Delu^as,  Renaud,  the  de 
Reszke  brothers,  and  Gresse,  pere  et 
fils ;  Chevalier  of  the  Legion  of  Honor, 
1886 ;  pupil  first  of  the  Toulouse  Con- 
servatory, then  of  the  Paris  Conser- 
vatoire, where  in  1867  he  gained  first 
prizes  for  singing,  opera,  and  opera 
comique;  debut  in  the  r5le  of  Fal- 
stafF,  1867,  at  the  OpSra  Comique; 
debut  at  Grand  Opera,  1871,  as  Me- 
phistopheles  in  Gounod's  "  Faust," 
highly  regarded  in  Paris  and  London 
as  both  singer  and  actor;  wrote  li- 
bretti. B.  Aug.  1,  1848,  Toulouse; 
add.  Paris. 

Gaiment.     Fr.    Gaily. 

Gajamente.     It.    Gaily. 

Galantemente.  It.  Gracefully, 
gallantly. 

Galeazzi  (Prancesco)  wrote  one  of 
the  earliest  instruction  books  for  vio- 
lin, Rome,  1791;  led  the  orchestra  at 
the  Teatro  del  Valle.  B.  1758,  Turin; 
d.  1819,  Rome. 

Galilei  (Vincenzo)  took  part  in 
the  discussions  at  the  house  of  Gio- 
vanni Bardi,  Florence,  which  resulted 
in  the  establishment  of  Italian  opera 
on  the  lines  of  the  Greek  tragedies; 
composed  the  cantata  "  II  Conte  Ugo- 
lino,"  said  by  Doni  to  have  been  the 
first  work  for  single  voice;  played 
lute;  wrote  on  music;  was  the  father 
of  the  astronomer  Galileo.  B.  Flor- 
ence about  1533;    d.  about  1600. 

Galimathias.  Fr.  Comic  piece 
for  orchestra  with  clavier  and  other 
instruments  obligate. 

Galitzin  (Prince  Nicholas  Bor- 
risovich)  patronized  Beethoven,  pay- 
ing about  $115  for  the  dedication  of 
each  of  the  quartets  in  E  flat.  Op. 
127;  A  minor,  Op.  132;  B  flat.  Op. 
130 ;  about  $60  for  the  overture  in  C, 
Op.  124;  and  taking  copies  of  the 
Mass  in  D,  and  Ninth  Symphony,  and 
some  minor  works.  Carl  Beethoven 
presented  an  additional  claim  after 
the  composer's  death,  which  was 
paid.  The  Prince  met  Beethoven 
while  at  the  houses  of  Count  Ra^ou- 
mowsky  and  Count  Browne,  in  Vienna, 
and  conceived  a  profoujid  admiration 
for  him.     He  was  himself  a  'cellist, 


GALLENBEBG 


233 


GAMUT 


and  his  wife  played  piano.  D.  1866, 
on  his  estates,  Kurski,  Russia.  Prince 
George  composed  for  voice  and  or- 
chestra and  chamber  music;  con- 
ducted; maintained  an  orchestra, 
which  gave  public  concerts,  and  choir 
school  for  70  boys.  B.  1823,  St. 
Petersburg;  son  of  PRINCE  NICHO- 
LAS;   d.  Sept.,  1872. 

Gallenberg,  Count  von  (Wenzel 
Bobert)  composed  "  Samson,"  Naples 
and  Vienna,  1811;  "Latona's  Rache," 
Vienna,  1838,  and  in  all  nearly  fif^ 
ballets ;  court  director  to  Joseph  Bona- 
parte, in  Naples,  1805;  partner  with 
Barbaja  and  impresario  Vienna  Court 
Theatre;  ballet  master  and  composer 
for  Barbaja,  at  Naples;  m.  Countess 
Julie  Guicciardi,  with  whom  Beetho- 
ven had  been  in  love.  B.  Dec.  28,  1783, 
Vienna;    d.  Rome,  Mar.  13,  1839. 

Galli  (Cornelio)  sang  in  the  chapel 
of  Catherine,  Queen  to  Charles  II  of 
England;    taught  vocal.     B.  Lucca. 

Galli  (Pilippo)  sang  ten.  in  opera, 
but  a  serious  illness  altered  his  voice 
to  bass;  won  the  admiration  of  Ros- 
sini, who  composed  bass  rales  for  him. 
B.  1783,  Rome;   d.  Paris,  June  3,  1853. 

Galli  (Signora)  sang  mez.  sop. 
roles  in  London,  1743,  and  at  Covent 
Garden  in  1797;  favourite  pupil  of 
Handel.    B.  Italy;    d.  1804,  London. 

Gallia  (Maria)  sang  sop.  in  Lon- 
don opera  and  oratorio,  1703-48. 
Sister  of  Margherita  de  I'Epine. 

Galliard.  Lively  dance  in  triple 
time  which  was  the  precursor  of  the 
minuet. 

Galliard  (John  Ernst)  composed 
the  "  Morning  Hymn  of  Adam  and 
Eve  "  from  "  Paradise  Lost "  for  two 
voices,  which  Dr.  Benjamin  Cooke 
afterwards  enlarged ;  "  Pan  and 
Syrinx,"  opera,  1717;  "Jupiter  and 
Europa,"  pantomime,  1723;  much 
other  dramatic  music ;  three  anthems ; 
a  Te  Deum  and  Jubilate ;  played  oboe ; 
organist  at  Somerset  House.  B.  Zell, 
Hanover,  1687;    d.  1749,  London. 

Galliculus  (Johannes)  composed  a 
Passion  according  to  St.  Mark  and 
other  church  music;  wrote  "  Isagoge 
de  Compositione  Cantus,"  a  valuable 
book  on  theory;  held  that  four  voices 
give  the  best  results  in  choral  works. 


His  compositions  are  dated  Leipsio, 
1520-45. 

Galli-Marie  (Celestine)  created 
the  name  parts  in  "  Mignon "  and 
"Carmen";  debut,  1859,  Strasburg; 
sang  with  success  throughout  Europe 
and  at  the  Paris  Op6ra  Comique  for 
forty  years.  B.  Paris,  Nov.,  1840; 
daughter  of  the  singer  Maris  (M6c6ne 
Marie  de  I'lsle) ;  m.  the  sculptor  Gall; 
d.  Sept.  22,  1905,  near  Nice. 

Gallus  was  the  Latinized  name  of 
Jacobus  HANDL. 

Gallus  (Joannes)  composed  madri- 
gals and  motets;  chapelmaster  to  the 
Duke  of  Ferrara,  1534r-41;  called 
"  Jan  le  Coick "  in  the  Netherlands 
and  "  Jehan  le  Coeq  "  in  France. 

Galop.  Lively  round  dance  in  2-4 
time. 

Galoubet.  ¥r.  Small  flute  or 
Tabor-PIPE. 

Galuppi  (Baldassare)  composed 
successful  comic  operas,  of  which  "  II 
Filosofo  di  Campagna "  (Eng.  ver- 
sion, "The  Guardian  Trick'd")  waa 
most  popular;  chapelmaster  at  St. 
Mark's,  Venice;  composer  to  Cath- 
erine II  of  Russia;  director  Conser- 
vatorio  degli  Incurabili  at  Venice.  B. 
Oct.  18,  1706,  near  Venice;  d.  Jan.  3, 
1785. 

Gamba.  Organ  stop  of  8  ft.  pitch 
having  the  tone  quality  of  strings. 

Gamba,  Viola  da.  Obsolete  viol 
instrument  midway  in  compass  be- 
tween a  viola  and  'cello,  held  between 
the  knees  while  in  use,  hence  called 
"  da  gamba,"  as  opposed  to  "  da  brac- 
cio,"  Italian  words,  meaning  leg  and 
arm.  J.  S.  Bach  was  the  last  com- 
poser to  write  for  this  instrument, 
which  has  a  lovely  singing  quality,  but 
has  been  entirely  superseded  by  the 
'cello.  It  had  six  strings,  of  various 
tuning.  . 

Gamble  (John)  played  violin; 
composed  "  Ayres  Dialogues,"  to  be 
sung  with  the  oboe  or  bass  viol,  1656; 
became  cornetist  in  the  Chapel  Royal 
under  Charles  II.    D.  1687. 

Gamme.     Fr.    GAMUT. 

Gamut.  Complicated  musical  scale 
from  G,  which  was  called  Gamma-Ut 
to  e',  which  seems  to  have  fore- 
shadowed in  the  Hexachord  system  of 


GANDO 


323 


GABCIA 


notation  the  modern  Tonic  Sol  Fa. 
Gamut  was  formerly  used  as  a  syno- 
nym for  compass,  the  whole  range  of 
the  voice  or  instrument.  With  organ 
builders  Gamut  G  refers  to  G  in  the 
bass  clef.  Gamut  A  re,  E  la  mi,  etc., 
formerly  were  employed  to  denote  the 
keys  by  English  church  composers. 

Gando  (Nicholas)  founded  musical 
type  in  Paris.  B.  Geneva;  d.  1767, 
Paris.  Erangols  Pierre  became  the 
assistant  and  successor  to  his  father 
NICHOLAS.  B.  1733,  Geneva;  d. 
1800,  Paris. 

Oansbacher  (Johann)  composed  35 
masses,  8  requiems,  two  Te  Deums,  a 
symphony,  music  to  Kotzebue's  "  Die 
Kreuzfahrer,"  a  "  Liederspiel,"  songs, 
piano  pieces;  pupil  of  Vogler  and 
Albrechtsberger ;  comrade  of  von 
Weber  and  Meyerbeer ;  chapelmaster  at 
the  Vienna  Cathedral.  B.  May  8, 1778, 
Sterzing,  Tyrol;  d.  July  13,  1844, 
Vienna.  Dr.  Joseph  taught  singing 
at  the  Vienna  Conservatory.  B.  1829, 
Vienna,  son  of  JOHANN. 

Gantvoort  (Arnold  J.)  wrote 
"  Music  Keaders  " ;  taught  in  Cincin- 
nati public  schools  and  Cincinnati  Col- 
lege of  Music.  B.  Dec.  6,  1857,  Am- 
sterdam; came  to  America,  1876;  add. 
Cincinnati. 

Ganz.  Oer.  Whole,  as  Ton,  whole 
tone;  Note,  semibreve;  very,  as 
Langsam,  very  slow. 

Ganz  (Adolf)  composed  a  melo- 
drama, overtures,  lieder;  chapelmaster 
at  Darmstadt;  conducted  German 
opera   In  London,    1840-42.     B.   Oct. 

14,  1796,  Mayence;  d.  Jan.  11,  1870, 
London.  Moritz  played  'cello;  com- 
posed for  'cello.  B.  Sept.  13,  1806, 
Mayence ;  brother  of  ADOLF ;  d.  Jan. 
22,  1868,  Berlin.  Leopold  played  vio- 
lin with  his  brother  MORITZ  in  royal 
band,  Berlin;  made  successful  con- 
cert tours.  B.  Nov.  28,  1810,  May- 
ence;   brother  of  ADOLF;     d.   June 

15,  1869,  Berlin.  Eduard  played 
piano;  founded  music  school  in  Ber- 
lin, 1862.  B.  April  29,  1827,  Mayence; 
son  of  ADOLF;  d.  Nov.  26,  1869,  Ber- 
lin. Wilhelm  conducted  orchestral 
concerts  in  London;  accompanist  to 
Jenny  Lind  and  other  singers;  taught 
singing    Guildhall    School    of    Music, 


London.  B.  Nov.  6,  1833,  Mayence; 
son  of  ADOLF;    add.  London. 

Oarat  (Pierre  Joan)  sang  bar.  in 
opera;  taught  with  great  success; 
composed  songs;  was  favourite  singer 
of  Marie  Antoinette.  B.  April  25, 
1764,  Ustaritz;  d.  Paris,  Mar.  1, 
1823. 

Garcia  (Bon  Francisco  Saverio) 
composed  the  oratorio  "Tobia,"  1752; 
chapelmaster  at  Saragossa  Cathedral. 
B.  1731;    d.  1809. 

Garcia  (Manuel  del  Fopolo  Vi- 
cente) became  the  pioneer  impresario 
of  Italian  opera  in  New  York  City, 
where  he  established  himself  in  1825 
at  the  Park  Theatre  with  a  company 
which  included  Mme.  Garcia,  his 
daughter,  afterwards  famous  as  Maria 
Felicita  MALIBRAN,  and  his  son 
MANUEL;  gave  11  new  works  the 
first  season;  toured  Mexico  in  1827, 
but  was  robbed  of  $30,000  by  bandits 
and  returned  to  Europe.  Garcia  was 
a  chorister  in  the  Seville  Cathedral  at 
six,  and  was  recognized  as  a  composer, 
conductor,  singer,  and  actor  before  at- 
taining his  majority.  In  1808  he  be- 
came leading  tenor  at  the  Italian 
opera  in  Paris  and  in  1812  was  first 
tenor  in  Murat's  chapel  at  Naples, 
where  he  composed  his  highly  success- 
ful opera  the  "  Califfo  di  Bagdad." 
In  1816  he  created  the  r8le  of  Alma- 
viva  which  Rossini  had  composed  for 
him;  then  visited  England  and  re- 
turned to  Paris,  dividing  his  time 
between  the  French  capital  and  Lon- 
don, singing,  and  producing  his  operas 
"La  Mort  du  Tasse,"  "  Florestan," 
and  "  Fazzoletto  "  until  1823,  when  he 
founded  a  school  of  singing  in  Lon- 
don. After  his  American  venture  he 
again  sang  in  the  Theatre  des  Italiens, 
Paris,  and  established  himself  as  a 
teacher.  Besides  the  daughter  and 
son  already  mentioned  his  next  most 
famous  pupils  were  his  daughter  Paul- 
ine, who  became  Mme.  VIARDOT,  and 
his  wife,  Eugenie,  born  Meyer.  In  all, 
his  works  include  17  Spanish,  19  Ital- 
ian and  seven  French  operas.  B.  Jan. 
22,  1775,  Seville;  d.  June  2,  1832, 
Paris.  IVIanuel  invented  the  Laryn- 
goscope while  making  what  was  prac- 
tically the  first  scientific  investigation 


GARCIN  234  GASTINEL 

of  the  vocal  meohanism;  wrote  "M6-  mite";  services,  songs,  and  organ 
moire  sur  la  voix  humaine"  1840,  on  pieces;  played  organ,  University  of 
■which  all  later  books  on  the  voice  are  Cambridge.  B.  June  8,  1834,  Win- 
based;  "Traite  complet  de  I'art  du  Chester;  d.  April  8,  1897,  Cambridge, 
chant,"  which  has  served  as  an  in-  Garrire.  /*.  To  chirp  or  warble. 
Btruotion  book  in  English,  German,  Gaschet  (John)  published  service 
and  Italian  versions  as  well  as  in  books  at  York,  Eng.,  1516  to  1530. 
French,  1847;  pupil  of  his  father  Gaspar  da  Salo  was  the  name 
MANUEL  DEL  POPOLO VICENTE ;  under  which  Gasparo_  Bertolotti  be- 
teacher  of  Jenny  Lind  and  many  others  came  famous  as  a  violin  maker  at 
at  the  Paris  Conservatoire  and  at  the  SALO. 

Royal  Academy  of  Music,  London,  Gasparini  (Francesco)  composed 
1848-95;  decorated  by  the  Spanish,  the  oratorios  "MosS  liberato  dal  Nilo," 
German,  and  English  sovereigns ;  hon-  Vienna,  1703;  "  Nascita  di  Cristo" 
oured  throughout  the  world  on  the  and  "Nozze  di  Tobia,"  1724;  "Santa 
occasion  of  his  centenary,  1905.  B.  Maria  egittiaca,"  "  L'Atalia,"  can- 
Mar.  17,  1805,  Madrid;  d.  London,  tatas,  32  operas;  chapelmaster  at  St. 
July  1,  1906.  John's  Lateran,  Rome;    wrote  "  L'Ar- 

Garcin  (Jules  Auguste)  composed  monico    prattico    al    cembalo,"    etc., 

a  violin  concerto ;   played  violin;   con-  1708,   one    of   the    most   valuable   of 

ducted  Paris  Socigt6  des  concerts,  1885.  early  works  on  accompajiiment.     B. 

B.  Bourges,  July  11,  1830;  real  name  Mar.  5,  1668,  near  Lucca;   d.  Mar.  22, 

Salomon;  d.  Oct.  10,  1896,  Paris.  1727. 

Gardane    (Antonio)   composed,       Gassatio.    Term  employed  vaguely 

printed,  and  published  music  in  Ven-  for  street  serenade,  instrumental  com- 

ice,  1538  to  1569.  position,  farewell,  or  final  piece. 

Garden     (Mary)     created    "  M€li-       Gassenhauer.       Oer.      Dances    in 

sande "  in  Debussy's  "  Pelleas  et  M61-  3-4    time    belonging    to    the    CHA- 

llsande"    and   other   roles   at    Paris  CONNE  and  PASSACAILLE  class. 
Op€ra   Comique;    debut   there    1900;        Gassier    (l^duard)    sang    bar.    in 

lived  in  America  in  childhood;    pupil  opera;     debut  Paris  Op€ra   Comique, 

of  Trabadello  and  FugSre,  Paris ;  sang  1845;    pupil  of  Paris  Conservatoire, 

Manhattan  Opera  House,  New  York,  where  he  won  first  prizes  for  opera 

1907-8.    B.  Feb.  20,  1877,  Aberdeen;  and  opera  comique  and  second  prize 

add.  Paris.  for  singing,  1844;    m.  JOSEFA  Fer- 

Gardiner   (William)   wrote  "The  nan  Fernandez.    B.  Pougin,  1822;    d. 

Nature  of  Music,"  1832;  "Music  and  Dec.  18,  1871,  Havana.     Josefa  sang 

Friends,"    1838;    "Sights    in   Italy,"  sop.  in  opera;   debut  at  Her  Majesty's 

1847;     edited    "Sacred    Melodies";  Theatre,   London,   1846   to   1861.     B. 

adapted   English   texts   to   music    of  1821,  Bilboa;    m.  EDUARD;    d.  Nov. 

Haydn,  Mozart,  and  Beethoven;    com-  8,  1866,  Madrid, 
posed.     B.  Leicester,  Mar.  15,  1770;       Gassmann  (Florian  Leopold)  sug- 

d.  Nov.  16,  1853.  gested  the   formation  of  the   Vienna 

Gardoni  (Italo)  sang  ten.  in  opera ;  Tonkiinstler     Societat,     1771,     while 

debut,  Viadana,  1840  to  1874;   Cheva-  ballet   composer   to   the   Vienna   Im- 

lier  of  the  Crown  of  Italy.     B.  1821,  perial  opera ;    composed  "  L'Amor  ar- 

Parma;    m.  daughter  of  Tambourini;  tigiana,"  "La  Contessina,"  and  in  all 

d.  Mar.  30,  1882.  23  Italian  operas,  the  oratorio   "  La 

Garlandia,    de   (Johannes)   wrote  Betulia  libera ta,"  and  church  music; 

"  De    Fistulis,"     "  De    Nolis,"     "  De  chapelmaster  to  Emperor  Joseph  II ; 

Musica     Mensurabili     Positio,"     and  taught    Salieri.      B.    May    4,    1729, 

other   books    on   theory,   which   have  Brux,    Bohemia;     d.    Jan.    22,    1774, 

been   reprinted  by   de   Coussemaker;  Vienna, 
taught  in  Paris,  13th  century.  Gastinel  (Xieon  G.  Cyprien)  com- 

Garrett     (Dr.     George     ivtursell)  posed  the  cantata  "Velasquez,"  with 

composed    the    cantata   "  The    Shula-  which  he  won  the  prix  de  Rome,  Paris 


OASTOLDI 


235 


Conservatoire;  the  ballet  "  Le  Rgve," 
Paris  Grand  Opfira,  1890.  B.  Aug.  15, 
1823,  Villers,  near  Auxonne;  add. 
Paris. 

Qastoldi  (Oiovanni  Giacomo)  com- 
posed the  songs  known  in  English 
versions  as  "Maidens  fair  of  Man- 
tua's city,"  "  Soldiers  brave  and  gal- 


aAVOTTB 


Gaid  (Alfred  Robert)  composed 
"  The  Holy  City,"  Birmingham  Festi- 
val, 1882  J  the  oratorio  "Hezeklah," 
"Ruth,"  Psalmi,  "Joan  of  Arc," 
Passion  Music,  "The  Ten  Virgins," 
"Israel  in  the  Wilderness,"  "Una," 
hymns,  part  songs,  and  other  vocal 
music;     conducted;     taught    theory; 


lant  be";    others  which  are  sung  in    chorister  Norwich  Cathedral  and  pupil 
Germany  to  the  hymns  "In  dir  ist    of  Dr.  Buck.    B.  April  30,  1837,  If  or- 


Freude"  and  "  Jesu,  wollst  ims 
weisen";  chapelmaster  at  Santa  Bar- 
bara, Mantua.  B.  Caravaggio;  d. 
Mantua  about  160S. 

Gates  (Bernard)  composed  a  ser- 
vice in  F ;  master  of  choristers  of  the 
Chapel  Royal  when  the  children  first 
sang  Handel's  "Esther."  B.  London 
about  1685;  d.  Nov.  15,  1773,  North 
Aston,  near  Oxford. 

Gatti-Casazza  (Giulio)  became 
general  manager  of  the  Metropolitan 
Opera  'House,  New  York,  on  the  re- 
tirement of  Heinrich  von  Conried  at 
the  close  of  the  season  of  1907-8,  hav- 
ing associated  with  him  in  the  direc- 
tion ANDREAS  DIPPEL,  Educated 
as  a  naval  engineer,  he  abandoned  his 
profession  at  25  to  become  manager 
of  the  Municipal  Theatre  of  Ferrara, 
and  during  five  years  so  increased  the 
reputation  of  the  house  that  in  1898 
he  was  made  director  of  the  celebrated 
"La  Scala"  at  Milan,  a  post  which  he 
retained  until  accepting  the  New  York 
engagement,  and  in  which  he  made 
successful  productions  of  the  works 
of  Debussy,  Richard  Strauss,  Charpen- 
tier,  Tschaikowsky,  and  Wagner,  as 
well  as  of  new  works  by  the  younger 
generation  of  Italian  composers.  Dur- 
ing May,  1908,  he  visited  New  York 
to  map  out  the  work  for  the  following 
season,  and  in  interviews  then  pub- 
lished gave  the  impression  that  the 
best  of  modern  music  of  every  nation- 
ality would  be  heard  at  the  Metropoli- 
tan during  his  regime,  while  many  of 
the  standard  classics  would  be  re- 
vived. The  impresario  made  the  en- 
gagement of  ARTURO  TOSCANINI, 
who  had  been  his  principal  conductor 
at  "  La  Scala,"  a  condition  in  his  own 
contract.  B.  Ferrara,  1869;  add. 
New  York. 

Gauche.    Fr.    Left. 


wich;    add.  Birmingham. 

Gaultier  (Denys)  composed  dance 
music  for  lute,  of  which  62  composi- 
tions are  preserved  in  the  Hamilton 
Code,  Royal  Library,  Berlin;  played 
lute.  B.  Marseilles;  d.  about  1660. 
Jacques  became  famous  as  lute  player, 
composer,  and  teacher,  in  England  and 
France;  called  Gaultier  or  Gauthier 
"le  vieux."  Probably  B.  Lyons; 
cousin  of  DENYS;  d.  about  1670. 
Several  other  members  of  the  family 
were  well  known  lute  players  during 
the  reign  of  Louis  XIII. 

Gauntlett  (Henry  Jota.n.)  composed 
and  edited  hymn  and  psalm  tunes; 
lectured  and  wrote  on  musical  topics ; 
played  organ.  B.  Wellington,  Salop, 
Eng.,  July  9,  1805;  d.  London,  Feb. 
21,  1876. 

Gaveaux  (Pierre)  composed  the 
operas  "Xieonore,ou  I'amour  conjugal," 
which  Beethoven  afterwards  set  as 
"  Fidelio,"  "  Le  petit  Matelot,"  and  in 
all  35  operas;  sang,  ten.;  conducted. 
B.  1761,  B€ziers;  d.  insane  at  Charen- 
ton,  Feb.  5,  1825. 

Gavlnies  (Pierre)  composed  the 
"  Romance  de  Gavinies "  while  im- 
prisoned because  of  a  love  affair  with 
a  lady  of  the  French  court;  the  ad- 
mirable "  Matinfes  "  for  violin ;  six 
violin  concertos;  two  sets  of  sonatas 
for  violin  and  bass ;  played  violin  and 
taught  at  the  Paris  Conservatoire, 
numbering  among  his  pupils  Capron, 
Robineau,  and  Le  Due,  ainl,  practically 
founding  the  French  school  of  violin- 
ists; directed  the  concerts  spirituel, 
1773-77.  B.  May  26,  1726,  Bordeaux; 
d.  Sept.  9,  1800,  taris. 

Gavotta.     It.    GAVOTTE. 

Gavotte.  Lively  round  dance  in 
common  time  which  probably  origi- 
nated in  Dauphine.  Examples  are  to 
be  foimd  in  the  works  of  Couperin, 


15 


GAWLEB 


226 


OEMINIAm 


Corelli,  Bach,  and  Handel,  forming  a 
movement  in  suites. 

Gawler  (William)  composed  hymns 
and  psalms;  played  organ;  published 
music  in  London.  B.  1750,  Lambeth; 
d.  Mar.  15,  1809. 

Gawthom  (ITathanlel)  published 
"  Harmonica  Perfecta,"  which  con- 
tained psalm  and  hymn  tunes,  an- 
thems, and  an  introduction  to  psalm- 
ody, London,   1730. 

Gkyarre  (Juliaii)  sang  ten.  in 
opera;  debut.  Home,  1873  to  1889; 
founded  singing  school  for  poor  stu- 
dents in  Madrid.  B.  Jan.  9,  1844;  d. 
Jan.  2,  1890,  Madrid. 

Gazza  Ladra.  6.  A.  Rossini's  two- 
act  opera,  to  book  by  Gherardini,  was 
first  performed  May  31,  1817,  at  La 
Scala,  Milan. 

Gazzaniga  (Giuseppe)  composed 
"II  barone  de  Trocohia,"  "II  finto 
cieco,"  Vienna,  1770;  "II  eonvietato 
di  pietro  "  and  many  other  operas,  of 
which  eight  have  been  preserved; 
three  oratorios;  chapelmaster  at 
Crema;  pupil  of  Porpora.  B.  1743, 
Verona;    d.  1819,  Crema. 

G  Clef.    The  treble  clef. 

G  Dur.    Oer.    Key  of  G  major. 

Gebauer  (Franz  Xaver)  composed 
songs  and  choral  works;  helped  es- 
tablish the  Vienna  Gesellschaft  der 
Musikf  reunde ;  conducted  Vienna 
Spirituel-Concerte  and  at  St.  Augus- 
tin's  Church;  played  organ,  piano, 
'cello,  Jew's  harp;  friend  of  Beetho- 
ven. B.  Eckersdorf,  Prussian  Silesia, 
1784;   d.  Dec.  13,  1822,  Vienna. 

Gebel  (Johann  Georg)  composed 
48  organ  chorales,  a  thirty-part  canon, 
Mass  for  double  choir  and  instru- 
ments, psalms,  clavier  music;  in- 
vented a  clavicembalo  with  six  com- 
plete octaves,  a  clavichord  with 
quarter-tones;  played  organ  Christo- 
pherkirche,  Breslau.  B.  Breslau,  1685; 
d.  1750.  Georg  played  harpsichord  in 
public  at  four;  composed  Passion 
Music,  Christmas  oratorios,  Services, 
the  operas  "  Serpilius  und  Melissa," 
"  Oedipus,"  "  Medea,"  "  Tarquiniua 
Superbus,"  "  Sophronisbe,"  "  Marcus 
Antonius " ;  more  than  100  sinfonia 
and  partite;  chapelmaster  at  Rudol- 
Btadt.    B.  Oct.  25,  1709,  Brieg;   oldest 


son  of  JOHANN  GEORG;  d.  Sept. 
24,  1753,  Rudolstadt.  Georg  Sigis- 
mund  composed  for  organ;  played 
organ  Elizabethkirche,  Breslau.  B. 
1715,  Breslau;  second  son  of  JOHANN 
GEORG;    d.  1775. 

Gebrochene  Akkorde.  Ger.  Ar- 
peggios. 

Gedacht.  Ger.  Closed,  covered,  as 
of  organ  stops  of  which  the  pipes  are 
closed  at  the  top. 

Gefahrte.  Qer.  Answer  in  a 
fugue. 

Gefiihl,  mit.    Ger.    With  feeling. 

Gegeubewegung.  Ger.  Contrary 
motion. 

Gegengepunkt.  Ger.  Counter- 
point. 

Gegengesang.  Ger.  Antiphonal 
music. 

Gegensatz.     Ger.     Counter-subject. 

Gehalten.  Ger.  Sustained;  sos- 
tenuto. 

Geige.    Ger.    Fiddle. 

Geigen-Principal.  Organ  stop  of 
8  ft.  pitch  with  tone  resembling  that 
of  the  violin. 

Geisler  (Paul)  composed  the  operas 
"Ingeborg,"  Bremen,  1884;  "Hertha," 
Hamburg,  1891;  "Palm,"  Lttbeck, 
1893;  symphonic  poems  "Till  Eulen- 
spiegel"  and  "The  Pied  Piper  of 
Hamelyn";  cantatas,  music  to  five 
plays;  directed  Posen  Conservatory. 
B.  Stolp,  Pomerania,  Aug.  10,  1856; 
add.  Posen. 

Geist.     Ger.    Genius,  spirit, 

Gelassen.     Ger.    Tranquil,  calm. 

Gelinek  (Joseph.)  taught  piano; 
composed  sonatas,  songs,  and  so  many 
variations  that  Weber  called  him  a 
"  Variation-Smith  " ;  chaplain  and 
music  master  to  Prince  Kinsky  from 
1795.  B.  Selcz,  Bohemia,  Dec.  3, 1758; 
d.  April  13,  1825,  Vienna. 

Gemahlig.     Ger.    Gradually. 

Gemassigt.    Ger.    Moderato. 

Gemessen.  Ger.  Measured,  mod- 
erate. 

Geminiani  (Francesco)  wrote  "Art 
of  Playing  the  Violin,"  London,  1740, 
the  first  work  of  its  kind  in  the  world; 
became  famous  as  violin  virtuoso,  de- 
veloped technique  of  that  instrument 
which  he  had  learned  from  Corelli; 
composed   concertos   and  sonatas   for 


GElffiSHOKN 


2211 


GEOBGES 


violin;  played  and  taught  with  great 
success  in  London  and  Dublin;  wrote 
on  theory.  B.  1680,  Lucca;  d.  Sept. 
17,  1762. 

Gemshorn.  Oer.  Instrument  made 
of  the  chamois  horn;  organ  stop  of 
conical  metal  pipes,  generally  of  8  ft., 
sometimes  of  4,  or  in  pedal  organ  of 
16  ft.  tone. 

Gemiinder  (August)  made  violins 
of  superior  quality  in  New  York  City; 
established  an  instrument  factory  and 
salesroom,  conducted  1908  by  his  sons. 
B.  Mar.  22,  1814,  IngeWngen,  Wur- 
temberg;    d.  New  York,  Sept.  7,  1895. 

Genee  (Franz  Friedrich  Bichard) 
composed  "  Der  Geiger  aus  Tirol," 
1857 ;  "  Die  Piraten  "  and  "  Die  Zwil- 
linge,"  1887,  and  many  other  oper- 
ettas; wrote  many  libretti  for  his 
own  use  and  for  Strauss,  Supp#,  and 
Milloeker;  conducted  at  Theater  an 
der  Wien,  Vienna,  1868-78.  B.  Feb. 
7,  1823,  Danzig;  d.  June  15,  1895, 
Baden,  near  Vienna. 

Generalbass.  Ger.  THOROUGH- 
BASS. 

Generali  (Pietro)  composed  "I  Bac- 
canali  di  Roma,"  Venice,  1815;  "Fran- 
eesca  di  Rimini,"  Venice,  1829 ;  in  all 
more  than  45  operas;  regarded  as  the 
precursor  of  Rossini,  who  has  totally 
eclipsed  him.  B.  Oct.  4,  1783,  Mas- 
serano,  near  Vercelli;  real  name  Mer- 
candetti;    d.  Nov.  3,  1832,  Novara. 

Generator.  Root,  fundamental 
note,  GROUND  BASS. 

Genere.  /*.  Genera,  kind,  class, 
manner,  style. 

Creneroso.     /*.     Noble,  dignified. . 

Genet  (Eleazar)  composed  masses, 
hymns,  "  Lamentations,"  long  sung  by 
the  Papal  choir,  may  have  suggested 
the  abandonment  of  ligatures  and  the 
substitution  of  round  for  square  or 
diamond  shaped  notes,  since  his  works, 
printed  in  Briand's  type,  are  among 
the  first  to  show  these  improvements; 
attached  to  Papal  court  from  1508  to 
1518  as  priest,  composer,  and  singer; 
became  bishop;  called  Carpentraa 
from  his  birthplace  in  France. 

Genoveva.  Robert  Schumann's 
four-act  opera,  to  book  arranged  by 
Reinick  and  himself  from  a  work  by 
Hebbel  and  Tieck,  was  first  performed 


at  Leipsic,  June  25,  1850.  Genoveva, 
wife  of  Count  Siegfried  of  the  Palati- 
nate, is  left  in  charge  of  Golo  while 
her  husband  joins  Charles  Martel  in 
his  wars  against  the  Moors.  Golo, 
who  has  long  been  secretly  in  love 
with  his  friend's  wife,  takes  advan- 
tage of  his  opportunities  to  pay  court 
to  her,  but  when  repulsed,  contrives 
to  make  it  appear  that  she  has  ac- 
cepted Drago,  the  steward,  as  her 
lover.  In  his  machinations  he  is 
aided  by  the  old  witch  Margaretha, 
whom  he  supposes  to  have  been  his 
nurse,  but  who  was  in  fact  his  mother. 
Having  convinced  the  servants  at  the 
castle  of  Genoveva's  misconduct,  Golo 
causes  her  to  be  imprisoned,  and  then 
goes  to  Strasburg,  where  Count  Sieg- 
fried is  recovering  from  his  wounds 
after  being  victorious  over  the  Moors, 
and  tells  him  of  Genoveva's  faithless- 
ness. Siegfried  orders  Golo  to  kill 
Genoveva,  giving  him  his  own  sword 
and  ring  as  warrants  for  the  deed. 
Margaretha  attempts  to  picture  Geno- 
veva's misconduct  in  a  magic  mirror, 
but  the  ghost  of  Drago,  who  has  been 
murdered  by  Golo,  frightens  her  into 
a  confession  of  Genoveva's  innocence. 
In  the  last  act  Genoveva  is  led  into 
the  wilderness  to  die,  but  not  until 
she  has  again  spurned  his  passionate 
appeal  does  Golo  order  his  ruffians  to 
kill  her.  She  clings  to  a  shrine  and  is 
praying  when  Siegfried  appears,  led 
by  the  penitent  Margaretha.  A  touch- 
ing reunion  ensues,  and  in  trying  to 
escape,  Golo  falls  over  a  precipice  and 
is  killed. 

Genre.  Fr.  Genera,  kind,  class, 
manner,  style. 

Gentil.     Fr.     Graceful,  refined. 

Gentile.    It.    Elegant,  graceful. 

Gentilezza,  con.  It.  With  ele- 
gance, grace. 

Genus.  L.  Kind,  class,  especially 
as  to  scales;    plural  is  genera. 

Georges  (Alexandre)  composed 
the  lyric  dramas  "Poemes  d' Amour," 
1892;  "Charlotte  Corday,"  1901;  "Le 
Printemps,"  one-act  opera  oomique; 
"Leila,"  "La  Naissance  de  Venus," 
"Le  Paradis  Perdu,"  symphonic 
poems ;  "  Chansons  de  Miarka "  for 
voice    and    orchestra,    to    words    by 


GERADE    BEWEGUNG  228 

Kichepin;  music  to  the  plays  "  Le 
Nouveau  Monde  "  and  "  Alceste " ; 
pupil  of  Neidermeyer  in  the  "  ]6cole 
de  Musique  Religieuse,"  where  he  won 
first  prizes  for  organ,  piano,  and  com- 
position. B.  Feb.  25,  1850,  Arras; 
add.  Paris. 

'  Gerade  Bewegung.  Ger.  Similar 
motion. 

Gerade  Taktart.  Ger.  Common 
time. 

Gerardy  (Jean)  played  'cello  ad- 
mirably; debut  as  virtuoso,  1888; 
toured  Europe  and  America;  pupil 
of  Verviers  Conservatory.  B.  Dec. 
7,  1877,  Spa,  Belgium;    add.     Spa. 

Gerber  (Heinrich  Ificolaus)  in- 
vented a  keyed  xylophone  and  other 
instruments;  composed  chorales  and 
variations,  and  for  clavier,  organ,  and 
harp;  pupil  of  J.  S.  Bach,  but  nar- 
rowly escaped  being  forced  into  the 
regiment  of  giants  collected  by  Fred- 
erick William  of  Prussia.  B.Weingen- 
Ehrich,  Schwarburg,  Sept.  6,  1702; 
d.  Aug.  6,  1775,  Sondershausen. 
Ernst  Ludwig  wrote  the  first  im- 
portant encyclopedia  of  music  in  Ger- 
ran;  collected  books,  pictures,  and 
scores,  now  in  the  possession  of  the 
Vienna  Gesellschaf  t  der  Musikf  reunde ; 
pupil  of  and  assistant  to  his  father 
HEINRICH.  B.  Sept.  29,  1746,  Son- 
dershausen;   d.  June  30,  1819. 

Gerbert  von  Hornau  (Martin) 
wrote  "  De  cantu  et  musica  sacra  a 
prima  ecclesiae  aetate  usque  ad 
praesens  tempus,"  1774,  which  is  re- 
garded as  the  Novum  Organum  of 
musical  scholarship;  made  a  collec- 
tion of  important  writings  on  music 
which  was  continued  and  reprinted 
by  de  Coussemaker ;  entered  the  Order 
of  St.  Benedict,  1737 ;  became  Prince- 
Abbot  of  St.  Blaise  in  the  Black  For- 
est, where  he  restored  Gregorian 
music,  opened  charitable  institutions 
in  his  chief  town  of  Bonndorf,  and 
was  so  universally  loved  that  the 
peasants  erected  a  statue  to  his  mem- 
ory in  Bonndorf  market.  B.  Aug.  12, 
1720,  Horb-on-the-Neckar;  d.  May 
13,  1793,  St.  Blaise. 

Gericke  (Wilhelm)  composed  the 
operetta  "  SchBn  Hannchen,"  Linz, 
1865;    chamber  music,  songs,  concert 


GEBNSHEIIU: 

overture;  conducted  Boston  Sym- 
phony Orchestra,  1884-89  and  1898- 
1905.  Pupil  of  the  Vienna  Conserva- 
tory; his  first  engagement  was  at 
Linz,  then  he  became  assistant  to  Dr. 
Richter  at  the  Vienna  Court  opera; 
conductor  of  the  Vienna  Gesellschafte 
concerte,  1880-84,  and  again  between 
his  engagements  in  America.  B.  Graz, 
Styria,  April  18,  1845;    add.  Vienna. 

Gerle  (Hans)  made,  played,  and 
composed  for  lute;  published  instruc- 
tion books  having  lute  music  in  tab- 
lature,  Nuremberg,  1532-52. 

German  (J.  Edward)  composed 
"  The  Princess  of  Kensington,"  Savoy 
Theatre,  London,  1903;  completed 
"The  Emerald  Isle,"  left  incomplete 
by  Sir  Arthur  Sullivan;  made  his 
first  success  with  incidental  music  to 
"  Richard  III "  while  directing  music 
at  the  Globe  Theatre  during  Richard 
Mansfield's  engagement  there;  com- 
posed two  symphonies,  E  and  A  minor, 
symphonic  suite  in  D  minor,  "  Ham- 
let," a  symphonic  poem ;  "  The  Sea- 
sons," symphonic  suite,  "  Welsh  Rhap- 
sodic," Cardiff  Festival,  1904;  much 
vocal  music  and  highly  successful  in- 
cidental dramatic  music.  Pupil  of 
the  Royal  Academy  of  Music,  London ; 
won  Lucas  medal,  1885,  with  Te 
Deum,  and  had  his  first  operetta, 
"  The  Rival  Poets,"  produced  the  fol- 
lowing year.  In  1907-8  Mr.  German 
visited  America,  producing  a  new 
comic  opera,  "  Tom  Jones."  B.  Feb. 
17,  1862,  Whitchurch,  Shropshire, 
Eng. ;    add.  London. 

German  Elute.  The  modern  cross 
FLUTE. 

German  Sixth.  Chord  of  the  ex- 
treme Sixth. 

Gem  (August)  built  organs  in 
London  from  1866,  having  learned  the 
trade  with  Cavaill6-Col,  Paris. 

Gernshelm.  (Priedrich)  composed 
"Salamis,"  "  Hafis,"  "  Wachterlied," 
"  Preislied,"  "  Agrippina,"  and  other 
choral  works,  four  symphonies,  over- 
tures, and  chamber  music;  taught 
and  conducted  at  Stern  Conservatory, 
Berlin;  pupil  of  Moscheles,  Haupt- 
mann,  Rietz,  and  Richter  at  the  Leip- 
sic  Conservatory.  B.  July  17,  1839, 
Worms;    add.  Berlin. 


GEKO 


239 


GEWAITDHATJS 


Gero  (Jhan)  composed  madrigals 
and  church  music;  chapelmaster  to 
Orvieto  Cathedral.  The  Maistre  Jhan, 
who  composed  in  like  form,  and  was 
chapelmaster  to  the  Duke  of  Ferrara, 
is  now  believed  to  have  been  a  dis- 
tinct personage.  Both  flourished  in 
the  early  part  of  the  16th  century. 

Gerster  (Etelka)  sang  sop.  in 
opera;  debut  in  Venice  as  Gilda, 
1876,  later  in  the  principal  cities  of 
Europe  and  America;  pupil  of  Mme. 
Marchesi;  founded  singing  school  in 
Berlin,  1896.  B.  Haschau,  Hungary, 
June  17,  1855;    add.  Berlin. 

Ges.    Oer.    The  note  G  flat. 

Gesang.     Oer.    Song,  melody. 

Geschwind.     Ger.    Rapid,  quick. 

Ges.  Dur.  Ger.  Key  of  G  flat 
major. 

Gese  (Bartholomaus)  composed  a 
St.  John  Passion  and  every  variety 
of  music  for  the  Lutheran  Church; 
cantor  at  Frankfort;  called  also 
Gesius  or  Barthol  Goss.  B.  MUnche- 
berg,  Brandenburg,  1555;  d.  1621, 
Frankfort. 

Gesellschaft  der  Musikfreunde 
was  founded  in  Vienna,  1813,  largely 
through  the  activity  of  Dr.  Joseph  von 
Sonnleithner,  to  conduct  subscription 
concerts  and  establish  a  library  and 
museum.  The  library  now  contains 
more  than  4000  volumes  and  40,000 
compositions,  printed  or  in  manuscript, 
including  works  by  Mozart,  Schubert, 
Beethoven's  ovra  revision  of  the 
"  Eroica,"  and  choruses  by  Gluck  and 
Handel.  The  society  built  its  own 
house,  1830,  and  a  larger  edifice, 
"An  der  Wien,"  1870,  where  the  con- 
certs are  now  given.  A  conservatory 
and  dramatic  school  have  grown  up 
about  the  society,  the  pupils  number- 
ing nearly  1000  per  annum.  The  so- 
ciety possesses  an  orchestra  of  80  and 
a  chorus  of  300  to  350,  which  give  six 
grand  concerts  each  year,  besides 
many  smaller  affairs. 

Gestossen.      Ger.     Staccato. 

Getern  or  Getron.  Old  English  for 
guitar. 

Getragen.     Ger.    Legato. 

Gevaert  (Frangois  Auguste)  com- 
posed the  successful  operas  "  Quentin 
Durward,"     Paris     OpSra     Comique,  ~ 


1858 ;  "  Le  Capitaine  Henriot,"  Paris 
Op6ra  Comique,  1864;  wrote  "  His- 
torie  et  Theorie  de  la  musique  dans 
I'antiquitg  "  and  other  valuable  theo- 
retical and  historical  works;  became 
director  of  the  Brussels  Conservatory, 
1871,  in  succession  to  Fgtis.  A  pupil 
of  the  Ghent  Conservatory,  Gervaert; 
became  organist  at  the  Jesuits' Church, 
Ghent,  where  his  Chrisimas  cantata 
was  performed,  1846.  In  1847  his 
Psalm  "  Super  flumina "  was  per- 
formed at  the  Zangverband,  winning 
the  praise  of  Spohr,  and  in  1848  his 
operas  "  Hugues  de  Somerghen "  and 
"  La  comedie  a  la  ville "  were  per- 
formed at  Ghent  and  Brussels.  The 
following  year,  having  won  a  national 
competition  which  gave  him  two  years 
abroad,  he  visited  France  and  Spain, 
and  composed  the  orchestral  fantasie 
"  Sobre  motivos  espagnoles,"  which 
brought  him  the  decoration  of  Isa- 
bella the  Catholic.  From  Spain  he 
went  to  Italy,  returning  to  Ghent, 
1852.  The  cantata  "  De  nationale 
verjaerdag"  won  him  the  Order  Of 
Leopold.  He  became  Chef  du  Chant 
at  the  Paris  Acad^mie  de  Musique, 
1867,  retaining  his  post  until  the 
opera  closed  because  of  the  Siege  of 
Paris  in  1870.  Other  works  to  be 
noted  are:  "Georgette,"  one-act  opera; 
"  Le  Billet  de  Marguerite,"  three-act 
opera ;  "  Les  EavandiSres  de  San- 
tarem,"  "  Le  Diable  au  Moulin," 
"  Chateau  Trompete,"  "  Les  Deux 
Amours,"  the  last-named  opera, 
Baden-Baden,  1861;  Requiem  for  male 
voices  with  orchestra,  the  cantata  "  Le 
Retour  de  I'armee,"  "  Jacques  van 
Artevelde,"  choruses  and  songs.  B. 
Huysse,  near  Oudenarde,  July  31, 
1828;    add.   Brussels. 

Gewandhaus  Concerts  grew  out  of 
those  established  in  Leipsic  by  Jo- 
hann  Sebastian  Bach  while  cantor  at 
the  Thomasschule,  1743,  continued  by 
his  sucessor  Doles,  re-established  by 
Burgermeister  Karl  Wilhelm  Muller, 
1781,  with  J.  A.  Hiller  as  conductor, 
and  in  1908  continued  to  rank  with 
the  most  important  in  the  world.  The 
name  is  derived  from  the  fact  that  the 
concerts  were  given  in  the  hall  of  the 
Gewandhaus,  the  market  house  of  the 


GHAZEL 


330 


GIBBONS 


linen  merchants.  There  are  24  con- 
certs given  annually  besides  soirees 
of  chamber  music.  The  conductors 
since  Hiller  have  been  Johann  Gott- 
fried Schicht,  Johann  Philip  Chris- 
tian Schulz,  Christian  August  Poh- 
lenz,  Felix  Mendelssohn,  Ferdinand 
Eiller,  Julius  Rietz,  Karl  Keinecke, 
Arthur  Nikisch. 

Ghazel.  F.  Killer's  name  for  com- 
positions in  which  there  is  a  perpet- 
ually recurring  refrain. 

Gheyn,  van  den.  (Matthias)  be- 
came the  most  famous  of  carillon- 
neurs,  winning  that  post  in  the  town 
of  Louvain  by  competition,  1745;  com- 
posed sonatas  for  violin  with  organ 
or  clavier ;  played  organ  at  St.  Peter's, 
Louvain;  belonged  to  the  family  of 
bell  founders  who  flourished  in  Flan- 
ders, 1516  to  1757.  B.  Tirlemont, 
April  7,  1721 ;  d.  June  22,  1785,  Lou- 
vain. Josse  Thomas  succeeded  his 
father  MATTHIAS  as  organist  at  St. 
Peter's.     B.   1752. 

Ghro  (Johann)  composed  pavans 
and  galliards;  played  organ  in  Meis- 
sen, Saxony,  1604;  became  music  di- 
rector and  organist  at  Weseastein, 
1625. 

Gialdini  (Gialdino)  composed  the 
successful  operas  "  I  Due  Soci,"  Bo- 
logna, 1892;  "La  Pupilla,"  Trieste, 
1896,  .and  comic  operas;  pupil  of 
Mabellini,  Florence;  won  prize  of- 
fered by  the  Pergola  Theatre,  Flor- 
ence, with  his  successful  first  opera 
"  Eosmunda."  B.  Nov.  10,  1843,  Pes- 
cia;    add.  Florence. 

Giardini,  de  (Felice)  composed 
nine  sets  of  violin  sonatas,  12  violin 
concertos,  18  string  quartets,  and  other 
chamber  music;  the  oratorio  Ruth; 
acquired  great  popularity  in  London 
as  violin  soloist;  impresario  of  the 
London  Italian  opera,  1756-65.  B. 
April  12,  1716,  Turin;  d.  Dec.  17, 
1796,  Moscow. 

Gibbons  (William)  was  one  of  the 
Waits  in,  Cambridge,  Eng.,  and  became 
the  progenitor  of  a  famous  family  of 
musicians.  Kev.  Edward  composed 
the  anthem  "How  hath  the  city  sate 
solitary!  "  organist  and  custor  of  the 
priest- vicars  of  Exeter  Cathedral,  1609 
to  1644;  gave  $5000  to  Charles  I  dur- 


ing the  Civil  War,  as  a  result  of  which 
his  property  was  confiscated  and  he 
was  turned  out  of  his  home  at  80.  B. 
1570;  son  of  WILLIAM.  Ellis  com- 
posed the  madrigals  "  Long  Live  Ori- 
ana  "  and  "  Round  about  her  chariot," 
published  1601  in  the  "  Triumphs  of 
Oriana";  played  organ  Salisbury  Ca- 
thedral. Son  of  WILLIAM.  Orlando 
became  the  foremost  of  English  poly- 
phonic composers,  organist  to  the  Eng. 
Chapel  Royal  and  to  Westminster 
Abbey.  Educated  by  his  brother  ED- 
WARD as  a  chorister  in  King's  Col- 
lege, Cambridge,  where  he  remained 
until  his  voice  broke ;  he  composed  a  re- 
markable fantasia  in  four  parts  which 
is  included  with  works  of  Byrd  and 
Bull  in  the  collection  of  virginal  music, 
"  Parthenia,"  which  established  his 
reputation;  thereafter  led  a  busy  life 
as  court  musician,  organist,  and  com- 
poser. Among  his  compositions  are 
a  four-part  morning  and  evening  ser- 
vice in  F,  a  five-part  service  in  D 
minor,  Te  Deum,  Benedictus,  Kyrie, 
Creed,  Sanctus,  Magnificat;  the  full 
anthems  "  Deliver  us  O  Lord,"  "  Al- 
mighty and  Everlasting  God,"  Ho- 
sanna,  "  O  clap  your  hands,"  "  0  Lord, 
in  Thy  Wrath,"  "  O  Lord,  in  Thee  is 
all  my  trust,"  "  Why  art  thou  so 
heavy,  O  my  soul?  "  "  Blessed  be  the 
Lord  God  of  Israel,"  "  0  Lord  increase 
my  faith,"  "Life  up  your  heads"; 
the  verse  anthems  "  Behold  thou  hast 
made  my  days,"  "  This  is  the  record 
of  John,"  "  Behold  I  bring  you  glad 
tidings,"  "  If  ye  be  risen,"  "  We  praise 
Thee,  O  Father,"  "  Lord  Grant  grace," 
"  Glorious  and  powerful  God,"  "  See, 
see,  the  Word  is  Incarnate,"  "  Sing 
unto  the  Lord,"  "  Blessed  are  they," 
"Great  King  of  Gods,"  "0  all  true 
faithful  hearts,"  "  I  am  the  Resurrec- 
tion " ;  the  hymns  "  O  Lord,  how  do 
my  woes  increase,"  "  0  Lord,  I  lift  my 
heart  unto  Thee,"  and  16  tunes  in 
"  Hymns  and  Songs  for  the  Church," 
reprinted  by  J.  R.  Smith,  1859;  "The 
Silver  Swan,"  "  O  that  learned  poets," 
"  I  weigh  not  fortune's  frown,"  and 
other  delicious  madrigals;  "Fancies 
for  Viols,"  and  virginal  music.  B. 
1583,  Cambridge;  son  of  WILLIAM; 
m.  Elizabeth  Patten;   d.  June  5,  1625, 


GIBSON 


331 


GII.SON 


Canterbury.  Dr.  Christopher  became 
organist  at  Winchester  Cathedral, 
1638;  fought  with  Royalists  during 
Civil  War,  became  organist  to  Charles 
II  on  the  Kestoration  and  at  West- 
minster Abbey;  composed  anthems, 
hymns,  and  fancies  for  viols.  B.  1615; 
second  son  of  ORLANDO ;  d.  Oct.  20, 
1676. 

Gibson.  (George  Alfred)  played 
violin  in  London  opera  and  concert  or- 
chestras; taught  Royal  Academy  of 
Music  and  Guildhall  School  of  Music. 
B.  Oct.  27,  1849,  Nottingham;  add. 
London. 

Giga.    It.    Jig  or  GIGUE. 

Gigelira.     It.     XYLOPHONE. 

Gigout  (Eugene)  composed  more 
than  300  organ  pieces,  published  as 
"  Album  Gregorien,"  a  "  Meditation  " 
for  violin  and  orchestra,  piano  sonata ; 
organist  at  Saint-Augustin,  Paris, 
1863;  pupil  and  afterwards  teacher 
in  Niedermeyer's  "  ticole  de  musique 
religieuse."  B.  Nancy,  Mar.  23,  1844; 
add.  Paris. 

Gigue.  Lively  dance  which  gave  its 
name  to  one  movement  of  the  SUITE, 
and  was  so  called  from  being  played 
on  the  geige  or  violin.  Forms  of  the 
gigue  or  giga  or  jig  are  found  among 
nearly  every  people;  the  Chica,  Czar- 
dasch.  Reel,  Hornpipe,  and  Bolero  are 
all  variations  of  the  gigue. 

Giles  (Dr.  Nathaniel)  composed 
anthems,  services ;  wrote  "  Lesson  of 
Descant  of  Thirtie  eighte  Proportions 
of  Sundrie  kindes,"  which  may  be 
found  in  Hawkins'  "  History  of  Mu- 
sic"; master  of  the  children  in  Eng. 
Chapel  Royal  49  years.  B.  Worcester, 
about  1550;   d.  Windsor,  Jan.  24,  1633. 

Gillet  (Ernest)  composed  "  Loin  du 
bal "  and  other  popular  music  for 
orchestra  and  piano;  first  'cellist  at 
Paris  Grand  Op6ra;  pupil  of  Nieder- 
meyer's "  ficole  de  musique  religieuse," 
Paris.  B.  Sept.  13,  1856,  Paris;  add. 
Loudon. 

Gilman  (Lawrence)  wrote  music 
criticism  for  "  Harper's  Weekly,"  and 
the  following  books :  "  Phases  of  Mod- 
em Music,"  Harper  &  Bros.,  1904; 
"  Edward  MacDowell  "  ("  Living  Mas- 
ters of  Music"),  John  Lane,  1905; 
"The    Music    of    To-morrow,"    John 


Lane,  1906 ;  "  Strauss's  '  Salome,'  A 
Guide  to  the  Opera,"  John  Lane,  1907 ; 
"  Stories  of  Symphonic  Music,"  Harper 
&  Bros.,  1907;  "Debussy's  '  Pelleas 
et  M^lisande,'  A  Guide  to  the  Opera," 
G.  Schirmer,  1907 ;  "  The  Opera  Since 
Wagner,"  John  Lane,  1908.  Educated 
at  the  Collins  Street  Classical  School, 
Hartford,  Conn.,  and  afterwards  stu- 
dent in  private  of  musical  theory, 
composition,  piano,  and  organ  play- 
ing. B.  July  5,  1878,  Flushing,  New 
York;    add.  New  York  City. 

Gilmore  (Patrick  Sarsfield)  gave 
festivals  remarkable  for  the  number  of 
people  employed,  having  an  orchestra 
of  1000  and  a  chorus  of  10,000  at  the 
National  Peace  Jubilee,  Boston,  1869, 
an  orchestra  of  2000  and  chorus  of 
20,000  at  the  World's  Peace  Jubilee, 
Philadelphia,  1872,  with  chimes  of 
bells,  anvils,  powerful  organs,  and  ar- 
tillery which  he  discharged  by  electric- 
ity to  replace  the  bass  drum  parts. 
Gilmore's  earliest  musical  training  was 
obtained  as  member  of  a  regimental 
band  in  Athlone,  Ireland.  Then  he 
drifted  to  Canada  with  an  English 
band,  and  later  to  the  United  States. 
He  first  organized  a  military  band  in 
Salem,  Mass.,  then  in  Boston,  and  dur- 
ing the  Civil  War  was  a  bandmaster 
in  the  Federal  army.  His  first  spec- 
tacular festival  was  given  in  New 
Orleans  with  a  combination  of  army 
bands,  1864.  He  later  made  numerous 
concert  tours  of  America  and  Europe. 
A  nxunber  of  arrangements  for  open 
air  performance,  and  some  military 
pieces  and  dance  music  are  accredited 
to  him.  B.  Galway,  Ireland,  Dec.  25, 
1829;   d.  Sept.  24,  1892,  St.  Louis,  Mo. 

Gilson  (Paul)  composed  "  La  Cap- 
tive," Brussels,  1902;  "  Francesca  de 
Rimini,"  for  soli  chorus  and  orchestra, 
1895 ;  Inaugural  cantata  for  the  Brus- 
sels Exposition  of  1897 ;  oratorio  "  Le 
Demon,"  humoresque  for  wind  instru- 
ments, "  La  Mer,"  symphonic  poem ; 
the  prize  cantata  "  Sinai,"  1890,  a 
Scotch  rhapsodie;  fantasia  on  Cana- 
dian airs ;  songs ;  became  professor  of 
harmony,  1902,  at  Brussels  Conserva- 
tory, where  he  had  been  a  pupil  of 
Cantillon,  Duyck,  and  Gervaert,  and 
where  he  won  the  prix  de  Rome,  1889, 


GIIKEEL 


332 


GIOBDAITO 


B.  June  15,  I860,  Brussels;  add. 
Brussels. 

Gimel.  Discant  for  two  voices, 
usually  at  tke  interval  of  a  third; 
parts  of  a  vocal  work  temporarily 
divided. 

Criuglarus  or  Gingras.  Ancient 
Phcenician  flute. 

Giochevole.    It.    Merry. 

Gioconda.    It.    Joyful,  happy. 

Gioconda.  Amilcare  Ponchielli's 
four-act  opera  to  book  by  Boito  was 
first  performed  April  8,  1879,  at  La 
Scala,  Milan.  The  story  is  partly 
based  on  Hugo's  "  Angelo."  The  scene 
is  laid  in  Venice,  to  which  the  pre- 
scribed Prince  of  Santafior  has  re- 
turned under  the  name  of  Enzo.  The 
curtain  rises  upon  a  scene  of  festivity 
in  the  courtyard  of  the  Ducal  Palace. 
Bamaba,  spy  of  the  Inquisition,  loves 
La  Gioconda,  and  when  she  enters 
with  her  mother,  a  blind  woman — "La 
Cieca  "  —  pleads  Ms  passion  so  vio- 
lently that  La  Cieca  calls  out,  the 
crowd  returns,  and  the  loser  in  a  re- 
gatta, believing  that  La  Cieca  caused 
his  defeat  by  witchcraft,  attacks  her. 
Enzo  returns  with  Gioconda,  attempts 
to  rescue  La  Cieca,  but  the  disturbance 
is  soon  quelled  by  Aloise,  one  of  the 
chiefs  of  the  Inquisition,  and  in  grati- 
tude La  Cieca  gives  her  rosary  to 
Laura,  the  wife  of  Aloise.  Laura,  to 
whom  Enzo  had  formerly  been  be- 
trothed, recognizes  him.  Bamaba, 
knowing  that  both  Laura  and  Gio- 
conda love  Enzo,  contrives  a  plot  to 
capture  Gioconda  and  destroy  Enzo 
and  Laura.  He  tells  Enzo  that  Laura 
still  loves  him,  and  will  come  to  his 
ship  at  nightfall,  and  then  tells  Aloise 
that  Laura  and  Enzo  are  about  to 
elope.  In  the  second  act  Bamaba 
escorts  Laura  aboard.  Enzo's  vessel. 
Gioconda  has  followed  them,  and  is 
about  to  stab  Laura,  when  she  sees  the 
rosary  La  Cieca  had  given  her.  Then 
she  suddenly  determines  to  save  her 
rival.  Bamaba,  who  had  left  the  ship, 
is  returning  with  Aloise,  but  Gio- 
conda smuggles  Laura  ashore  before 
their  arrival.  Meantime  the  Venetian 
galleys  have  closed  about  Enzo's  ship, 
and  he  sets  fire  to  his  vessel  to  prevent 
its  capture.    The  next  act  reveals  the 


House  of  Gold.  Aloise  tells  Laura 
that  she  must  die,  and  sends  Gioconda 
to  administer  poison.  Gioconda,  how- 
ever, substitutes  a  narcotic  for  the 
poison.  She  has  promised  herself  to 
Barnaba,  provided  he  will  aid  her 
in  the  plot  she  has  arranged  to 
free  Enzo  and  Laura.  The  fourth 
act  shows  Gioconda's  home  in  the 
ruined  palace  on  the  Orfano  Canal. 
Street  singers  enter,  carrying  the  sleep- 
ing Laura,  who  is  placed  upon  a  bed, 
but  wakes  in  time  to  prevent  Enzo 
from  wrecking  his  fury  on  Gioconda, 
whom  he  believes  to  have  murdered 
her.  Then  comes  a  dramatic  farewell 
between  the  happy  lovers  and  the  girl 
who  is  sacrificing  herself  for  them. 
Gioconda  slips  on  her  gayest  attire, 
but  when  Bamaba  comes  to  claim  her 
she  stabs  herself,  exclaiming  as  she 
dies,  "  I  have  sworn  to  be  thine,  take 
me,  I  am  thine."  Enfuriated  at  this, 
Barnaba  cries  out  that  he  has  mur- 
dered La  Cieca,  but  this  outburst  of 
villainy  fails  to  horrify  his  victim,  for 
La  Gioconda  is  dead.  The  principal 
musical  numbers  are :  Act  I :  "  Feste  e 
pane,"  regatta  chorus ;  "  E  danzan  su 
lor  tombe,"  Barnaba;  "  Figlia,  che 
reggi  il  tremulo,"  Gioconda,  Barnaba, 
and  La  Cieca ;  "  Voce  di  donna,"  La 
Cieca ;  "  Pertutti  ma  non  per  me," 
Enzo  and  Barnaba;  "Tradita  Ahime! " 
Gioconda;  "La  furlana,"  ballet;  Act 
II:  "Ha!  he!  ha!  he!  "  sailors' cho- 
rus; "Ah!  pescator,"  Barnaba;  "Cielo 
e  mar,"  Enzo ;  "  Stella  del  marinar," 
Laura ;  "  E  un  anatema,"  Gioconda  and 
Laura;  Act  III:  "Si!  mortis-ella  de!" 
Aloise ;  the  "  Dance  of  the  Hours," 
ballet ;  Act  IV :  "  SuUe  tue  mani," 
Enzo,  Gioconda,  and  Laura.  The  orig- 
inal caste  was:  Gioconda,  Mariani, 
sop.;  Laura,  Biancolini,  sop.;  La 
Cieca,  Barlandini,  con.;  Enzo,  Gay- 
orro,  ten.;    Barnaba,  Aldighieri,  bar. 

Giocondamente.  It.  Joyously, 
cheerily. 

Giocondato.     It.    Mirthful,  happy. 

Giocondezza.      Jocundity,   mirth. 

Giocosamente.  It.  Playfully, 
sportively. 

Giojante,  Giocoso.  /*.  With 
mirth,  joyfully. 

Giordano  (tJiaberto)  composed  the 


GIORGI 


233 


OLADSTOITE 


operas  "  Marina,"  "  Mala  Vita,"  "  Re- 
gina  Diaz,"  1894;  "ANDREA  CHE- 
NIER,"  1896;  "Fedora,"  1898;  "SI- 
BERIA," Milan,  1904;  pupil  of  the 
Naples  Conservatory.  B.  Aug.  27, 
1863,   Foggia;     add.   Naples. 

Giorgi  (Brighitta)  was  the  name 
of  a  singer  better  known  as  BANTI. 

Giordani  (Carmine)  composed  the 
opera  "-La  Vittoria  d'Amor,"  1712, 
songs,  and  organ  music;  embarked  in 
comic  opera  with  his  family  in  Naples ; 
appeared  in  London,  1753.  Tommaso 
composed  the  comic  opera  "  Love  in 
Disguise,"  "  Artaserse,"  "  Persever- 
ance," taught  and  conducted  success- 
fully in  Dublin.  B.  1740,  Naples; 
son  of  CARMINE;  d.  about  1798. 
Giuseppe  composed  the  operas  '  L' As- 
tute in  imbroglio,"  "  II  Bacio,"  the 
oratorios  "  La  Fuga  in  Egitto,"  "  Le 
tre  ore  d'Agonia  di  Nostro  Signore 
Gesu  Cristo,"  a  mass,  overtures,  cham- 
ber music,  the  songs  "  Caro  mio  ben," 
and  "  Let  not  age."  B.  Naples,  1774; 
son  of  CARMINE;    d.  1798,  Fermo. 

GioTanelli  (Ruggiero)  composed 
masses  in  eight  and  12  parts,  madri- 
gals; succeeded  Palestrina  as  chapel- 
master  at  St.  Peter's,  Rome,  1594.  B. 
Velletri,  near  Rome,  1560;  d.  Rome 
about  1620. 

Giovannlni  (Signor)  composed  a 
pasticcio  "  L'Incostanza  delusa "  and 
probably  the  song  "  Willst  du  dein 
Herz  mir  schenken";  played  violin; 
pupil  of  Leelair ;  settled  in  Berlin, 
1740.    D.  Berlin,  1782. 

Gioviale.     It.     Pleasant,  jovial. 

Gioviallta,  con.    It.    With  jollity. 

Gipsy's  Warning.  Sir  Julius 
Benedict's  three-act  opera  to  book  by 
Linley  and  Peake  was  first  performed 
April  19,  1838,  at  Drury  Lane, 
London. 

Giraffe.    Ancient  variety  of  spinet. 

Girardeau  (Isabella)  sang  sop.  in 
London  operas  about  1700;  called 
"  La  Isabella." 

Girelli-Aguilar  (Signora)  sang 
sop.  in  London  opera,  1772-73,  and  in 
the  music  composed  by  Mozart  for  the 
wedding  of  Archduke  Ferdinand,  Oct. 
17,  1771. 

Gis.     Oer.    G  sharp. 

Giselle.    Adolphe  Adam's  ballet  to 


plot  by  Theophile  Gautier,  adapted 
from  Heine,  was  first  performed  July 
4,  1841,  at  the  Grand  Opera,  Paris. 

Gis  IXEoU.  Ger.  Key  of  G  sharp 
minor. 

Gismondi  (Celeste)  sang  mez.  sop. 
in  London  opera,  1732-35.  M.  .a  Mr. 
Hempson;    d.  Oct.  28,  1735. 

Gittern  or  Ghittern.  Obsolete  in- 
strument of  the  guitar  family  once 
popular  in  England,  where  it  finally 
gave  way  to  the  Spanish  GUITAR. 

Gittith.  Heft.  Obscure  term  vari- 
ously interpreted  as  being  the  name 
of  an  instrument,  of  a  vintage  song, 
of  a  tune  to  which  the  psalms  could 
be  sung. 

Giubiloso.    It.    Jubilant. 

Giuglini  (Antonio)  sang  ten.  in 
opera,  London  debut,  1857  to  1865, 
when  he  became  insane,  after  a  Rus- 
sian tour.  B.  1827,  Fano;  d.  Oct.  12, 
1865,  Pesaro. 

Giulietta  e  Romeo.  N.  Vaccaj's 
three-act  opera  to  book  by  Remain, 
based  on  the  familiar  story  of  Romeo 
and  Juliet,  was  first  performed  Oct. 
31,  1825,  at  Milan. 

Giuramento.  F.  S.  Mercadente's 
opera  to  book  by  Rossi,  on  the  same 
subject  described  under .  GIOCONDA, 
was  first  performed,  1837,  at  La  Scala, 
Milan. 

Giustamente.  It.  Accurately, 
justly. 

Giusto.  It.  Strict,  suitable,  cor- 
rect. 

Gizziello  (Giacchlno  Conti)  sang 
sopranist  rSles  with  great  success,  de- 
but at  15,  Rome,  appearing  in  Naples, 
London,  Lisbon,  and  engaged  by  Fari- 
nelli  for  Madrid,  where  he  sang  three 
years;  called  Gizzielo  from  his  mas- 
ter, D.  Gizzi.  B.  Arpino,  Naples,  Feb. 
28,  1714;    d.  Oct.  25,  1761,  Rome. 

Gladstone  (Dr.  Francis  Edward) 
composed  the  sacred  cantatas  "  Nico- 
demus  "  and  "  Philippi,"  a  mass  in  E 
minor,  overture,  short  mass  in  E  flat, 
services,  anthems,  "  A  wet  sheet  and 
a  flowing  sea,"  chorus  with  orchestra, 
and  much  music  for  organ;  played 
organ  in  St.  Mary  of  the  Angels,  Bays- 
water,  1887-94;  taught  Royal  Col- 
lege of  Music.  B.  Summertown,  near 
Oxford,  Mar.  2,  1845;    add.  London. 


GLAREANUS 


234 


GLEE   CLUB 


•  Glareanus  (Henricus)  wrote  "  Isa- 
gogoe  in  musicen  Henrici  Glareani " 
and  other  important  works  on  theory, 
in  which  he  tried  to  prove  the  identity 
of  the  church  with  the  ancient  Greek 
modes;  became  poet  laureate  to  the 
Emperor,  1512,  for  a  poem  which  he 
wrote,  composed,  and  sang  to  his  own 
accompaniment;  professor  of  mathe- 
matics at  Basle  and,  on  recommenda- 
tion of  Erasmus,  of  philosophy  and 
the  liberal  arts  in  Paris;  real  name 
Loris.  B.  1488,  Canton  of  Glarus, 
Switzerland;  d.  Mar.  28,^  1563, 
Freiburg. 

Glasenapp  (Carl  Eriedrich.)  wrote 
"Richard  Wagner,  Leben  und  Wirken," 
which  is  the  authoritative  biography; 
Eng.  trans.  Ashton  Ellis.  B.  Oct.  3, 
1847,  Riga;    add.  Riga. 

Glaser  (Franz)  composed  the  suc- 
cessful opera  "  Des  Adlers  Horst," 
Berlin,  1832;  conducted  at  Vienna 
theatres,  court  conductor  at  Copen- 
hagen, 1842.  B.  April  19,  1798,  Ober- 
georgenthal,  Bohemia;  d.  Aug  29,  1861, 
Copenhagen. 

Glasses,  IMCuslcal.  Glasses  which 
are  tuned  by  being  partly  filled  with 
water,  and  played  by  rubbing  the 
wetted  finger  across  the  rim.  Benja- 
min Franklin's  invention  of  an  instru- 
ment' composed  of  glasses  is  described 
under  HARMONICA. 

Glazounow  (Alexander  Constan- 
tinovich)  composed  the  very  popular 
ballet  "  Ramonda,"  seven  symphonies, 
the  symphonic  poems  "  Stenka  Razin," 
"  The  Forest,"  "  The  Kremlin,"  much 
chamber  music,  ranked  as  the  best 
song  composer  of  the  New  Russian 
school.  Born  of  a  musical  family, 
Glazounow  had  lessons  in  piano  and 
theory  at  nine,  and  had  begun  to  com- 
pose at  13.  He  was  given  private  les- 
sons by  Rimsky  Korsakov  on  the  rec- 
ommendation of  Balakirev,  and  at  16 
composed  his  first  symphony,  the 
Qxiartet  in  D,  which  ranks  as  Op.  1, 
and  a  suite  for  piano  on  the  theme 
S  A  C  H  A,  the  diminutive  of  his  own 
name,  Alexander.  Rubinstein  con- 
ducted the  first  performance  of  his 
overture  on  Greek  themes.  Op.  2,  and 
Liszt  made  his  works  known  outside 
of  Russia.     In  1889  Glazounow  con- 


ducted at  the  Paris  Exposition,  and 
he  has  since  officiated  in  that  capacity 
in  Russia.  In  1900  he  taught  the  class 
in  instrumentation  at  the  St.  Peters- 
burg Conservatory,  of  which  he  was 
director  in  1908.  Among  important 
compositions  not  already  referred  to 
may  be  mentioned :  "  The  Sea,"  or- 
chestral fantasia ;  "  Scenes  de  ballet," 
orchestral  suite;  Coronation  cantata, 
mixed  chorus,  soli,  and  orchestra.  Op. 
56 ;  ballet,  "  Ruses  d'Amour,"  Op.  61 ; 
Memorial  cantata  for  the  Leeds  Festi- 
val, 1901,  soli,  choir,  and  orchestra; 
Hymn  to  Poushkin  for  female  chorus, 
Op.  66 ;  ballet  "  The  Seasons,"  Op.  67 ; 
string  quartet  in  D,  Op.  70;  Chant  du 
Menestrel  for  'cello,  with  piano  or  or- 
chestra accompaniment;  piano  sonata 
in  B  flat.  Op.  74;  piano  sonata  in  E, 
Op.  75 ;  orchestral  suite,  "  Aus  dem 
Mittelalter,"  Op.  79.  B.  St.  Peters- 
burg, Aug.  10,  1865;  add.  St. 
Petersburg. 

Gleason  (Frederick  Grant)  com- 
posed the  romantic  operas  "Otto  Vis- 
conti "  and  "  Montezuma,"  the  latter 
to  his  own  libretto;  the  symphonic 
poem  "  Edris,"  the  cantatas  "  God  our 
Deliverer,"  "The  Culprit  Fay,"  "Praise 
Song  to  Harmony,"  "  Auditorium  Fes- 
tival Ode,"  choruses,  part  songs,  cham- 
ber music;  played  organ;  pupil  of 
Dudley  Buck  in  Hartford,  of  Mos- 
cheles,  Plaidy,  Richter,  and  Lobe  at 
the  Leipsio  Conservatory;  played  or- 
gan in  various  American  cities,  set- 
tling in  Chicago,  1877.  B.  Dec.  17, 
1848,  Middletown,  Conn.;  d.  Chicago, 
Dec.  6,  1903. 

Glee.  Part  song  harmonized  for 
three  or  more  voices,  usually  male. 
This  form  of  composition  originated 
in  England,  where  it  was  the  fashion 
from  1760  to  1830.  Samuel  Webbe, 
Stevens,  Callcott,  and  Horsley  were 
foremost  among  the  composers  of 
glees. 

Glee  Club  had  its  begiiming  in 
meetings  held  at  the  house  of  Robert 
Smith,  London,  1783,  at  which  part 
songs  were  sung  after  dinner ;  was  or- 
ganized at  the  Newcastle  Coffee  House, 
1787,  and  gave  entertainments  in 
which  the  best  English  musicians  par- 
ticipated until  its  dissolution,  1857. 


GLEICH  235  OLOVEK 

Gleich.     Ger.    Equal,  alike.  work.    He  returned  to  St.  Petersburg 

Glen    (Thomas    Slacbean)    made    on  the  outbreak  of  the  Crimean  war, 

musical    instruments    in    Edinburgh,    and  again  became  interested  in  church 

establishing   the   business,    1827.      B.    music.     He   was   in   Berlin  in    1856, 

1804,    Fifeshire;     d.    July    12,    1873.    studying    church    music    with    Dehn, 

His  sons  John  and  Robert  continued    when    seized    with    a    fatal    illness. 

the  business,  being  noted  chiefly  for    Other  works  to  be  noted  are  two  Span- 

their  bagpipes.  ish  overtures,  "  Jota  Aragonese  "  and 

Gli.     It.    The.  "  Night  in  Madrid,"  the  fantasia  "  Ka- 

Glide.      GLISSANDO,   portamento,    marinskaya,"     incidental     music     to 

Gliere     (Keinhold     Moritzovich)    "  Prince  Kholmsky,"  "  Valse  Fantai- 

composed  a  symphony  in  E  flat,  1899 ;    sie,"  40  works  for  piano,  "  Pathetic," 

sextet  for  strings.  Op.  1 ;    string  quar-    trio  for  piano,  clarinet,  and  bassoon, 

tet.  Op.  2 ;    string  octet,  Op.  3 ;    pupil    string  quartet  in  F ;   Memorial  cantata 

of    the   Moscow   Conservatory,    1894-    for  Alexander  I,  the  Polish  hymn  for 

1900,  where  he  won  the  gold  medal,    mixed  chorus  and  orchestra;   85  songs, 

B.    Dec.    30,    1874,    Kiev;    add.    St.    10  duets,  and  six  quartets  and  trios. 

Petersburg.  B.  June  2,   1803,  Novopasskoi,  Smo- 

Glinka  (llichael  Ivanovich)  com-    lensk;    d.  Feb.  15,  1867,  Berlin, 
posed  the  first  national  Russian  opera,        Glissando.     It.     Playing  a   rapid 
"  A  Life  for  the  Czar,"  "  Russian  and    passage  in  piano  music  by  sliding  the 
Lioudmilla,"     based     on     Poushkin's    finger  over  the  keys  instead  of  striking 
poem,  the  failure  of  which  caused  him    each   separately;     in  violin   music   a 
to    thereafter    devote   himself   to   or-    rapid  slur, 
chestral  works.     While  a  school  boy        Glisser.     Fr.    To  slide, 
in    St.     Petersburg,    Glinka    studied        Glockenspiel.      Ger.      An   instru- 
piano    for   a    short   time    with   John    ment  consisting  of  bells  attuned  to  the 
Field,   and   afterwards   with   Obmana    diatonic  scale  and  played  by  a  key- 
and  Carl  Meyer  and  violin  with  Bohm.    board  attachment ;    organ  stop  of  two 
After  a  tour  in  the  Caucasus,  he  re-    ranks. 

tired  to  his  country  estate,  where  he*  Gloria.  The  name  for  the  hymn 
studied  the  works  of  Haydn,  Mozart,  "  Gloria  in  Excelsis  "  in  the  Roman 
Beethoven,  and  Cherubini.  In  1823  Catholic  liturgy,  and  for  the  "  Gloria 
he  accepted  an  oflScial  post  in  St.  Patri "  in  the  Anglican  liturgy.  The 
Petersburg,  but  continued  the  study  Gloria  Patri  is  sung  at  the  end  of 
of  music,  even  taking  vocal  lessons  each  psalm.  In  the  MASS  the  Gloria 
from  Belloli,  and  mingling  with  a  in  Excelsis  follows  the  Kyrie.  In  the 
society  at  once  artistic  and  aristo-  COMMUNION  SERVICE  it  comes  im- 
cratic.  In  1828  he  made  an  Italian  mediately  before  the  benediction, 
tour  and  met  Bellini  and  Donizetti.  Glottis.  Aperture  in  the  LARYNX 
In  1833  he  studied  composition  with  by  which  the  voice  is  controlled;  reeds 
Dehn  in  Berlin,  and  on  his  return  to  used  in  ancient  wood-wind  instruments. 
Russia,  set  about  his  first  serious  work  Gloucester  Festival.  English 
in  music,  a  national  opera.  Jou-  music  festival  better  known  as  the 
kowsky,  the  poet,  suggested  "Ivan  THREE  CHOIR  FESTIVAL. 
Sousanin"  as  the  hero,  and  Baron  Glover  (Charles  W.)  composed 
Rozen  wrote  the  libretto  for  the  work  "  Jeannette  and  Jeannot,"  "  Sing  not 
which  was  first  performed  as  "  A  Life  that  song  to  me,"  "  Of  love,  pretty 
for  the  Czar,"  Nov.  27,  1836.  After  maidens,  beware,"  and  other  popular 
two  years  spent  in  the  service  of  the  songs.  B.  1806,  London;  d.  Mar.  23, 
Imperial    Chapel,   the  failure   of   his    1863,  London. 

second    opera    decided    Glinka    upon        Glover  (John  William)  composed 
leaving   Russia,    and   he   spent   some    an  opera  on  "  The  Deserted  Village, 
time  in  Paris,  where  he  was  deeply  in-    1880;     two   Italian   operas   to   Meta- 
fluenced    by    Berlioz,    and    in   Spain,    stasio's  books,  "Ode  to  Thomas  Moore," 
where  he  gathered  material  for  future    the  cantatas  "  St.  Patrick  at  Tara  " 


glovi:b 


336 


GLUCK 


and  "Erin's  Matin  Song";  founded 
the  Dublin  Choral  Institute,  1851;  di- 
rected music  in  Dublin  Pro-cathedral. 
B.  June  19,  1815,  Dublin;  d.  Deo.  18, 
1899. 

Glover  (Sarah  Ann)  developed  the 
Tonic  Sol-fa  system ;  wrote  "  Manual 
containing  a  Development  of  the  Tet- 
rachordal  System,"  1850.  B.  1785, 
Norwich,  Eng.;  d.  Oct.  20,  1867, 
Malvern. 

Glover  (Stephen  Balph)  com- 
posed "  What  are  the  wild  waves 
saying,"  Longfellow's  "  Excelsior," 
"  Songs  from  the  Holy  Scriptures," 
and  in  all  about  1500  songs  and  piano 
pieces.  B.  1812,  London;  d.  Dec.  7, 
1870,  London. 

Glover  CWilliam  Howard)  com- 
posed the  operas  "  Ruy  Bias,"  Covent 
Garden,  1861,  "Once  Too  Often,"  "The 
Coquette,"  "  Palomita,"  overtures  to 
"  Manfred  "  and  "  Comala,"  the  can- 
tata "  Tam  O'Shanter,"  songs ;  wrote 
criticisms  for  the  London  "Morning 
Post " ;  conducted  at  Niblo's  Garden, 
New  York.  B.  June  6,  1819,  London; 
son  of  Mrs.  Glover,  the  actress;  d. 
Oct.  28,  1875,  New  York. 

Gluck,  Hitter  von  (Willibald) 
reformed  the  opera,  reducing  music  to 
its  proper  function,  that  of  seconding 
poetry  by  enforcing  the  expression  of 
the  sentiment  and  the  interest  of  the 
situations,  without  interrupting  the 
action  or  weakening  it  by  superfluous 
ornament.  To  paraphrase  Gluck's  own 
words  in  his  dedication  to  his  great 
opera  "  Alceste,"  his  idea  was  that 
the  relation  of  music  to  poetry  was 
much  the  same  as  that  of  harmonious 
colouring  and  well  disposed  light  and 
shade  to  accurate  drawing,  which 
animate  the  figures  without  altering 
their  outlines.  These  and  other  prin- 
ciples enunciated  by  Gluck  have  been 
the  germs  of  all  subsequent  attempts 
at  the  improvement  of  opera,  whether 
by  Berlioz,  Meyerbeer,  Weber,  or  Wag- 
ner and  his  followers,  or  the  "  Young 
Italian  "  school.  Born  on  the  estates 
of  Prince  Lobkowitz,  to  whom  his  par- 
ents were  servants,  Gluck  had  his  first 
lessons  on  the  violin,  harpsichord,  and 
organ,  and  in  singing  in  the  Jesuit 
school   at  Kommotau,  Bohemia.     He 


studied  under  Czernohorsky  in  Prague, 
1732-35,  supporting  himself  by  church 
singing,  concerts,  and  playing  at  coun- 
try dances.     In  1836  he  went  to  Vi- 
enna, met  Prince  Melzi  at  the  Lobko- 
witz house,  and  in  the  service  of  that 
gentleman  studied  with  Sammartini  in 
Milan.    "  Artaserse,"  1741,  and  half  a 
dozen  other  successful  Italian  operas 
were  the  fruits  of  this  first  period  in 
his  development.    Contemptuous  treat- 
ment accorded  him  by  Handel  during 
a   London   engagement   at  which  his 
"La    Caduta    de'    Giganti,"    "Arta- 
mene,"  and  the  pasticcio  "  Piramo  e 
Tisbe  "  were  produced  only  caused  him 
to   work  with  more  serious  purpose. 
He  studied  Rameau's  operas  during  a 
sojourn  in  Paris,  applied  himself  to 
the  art  and  literature  of  the  classic 
periods   of   various   peoples,   and  ten 
years  after  his  failure  in  London,  or 
in  1755,  established  himself  as  a  com- 
poser  in   Vienna.     His    "Antigono," 
Rome,    1756,  gained  him  the  Golden 
Spur  with  the  title  of  "  Hitter  "  and 
the  prefix   "  von."     The  operas  com- 
posed  during  this   period   have   long 
since  been  forgotten,  but  he  was  mak- 
ing progress,  and  as  singing  master  to 
Marie  Antoinette,  acquired  the  good 
will  and  esteem  of  that  princess,  which 
afterwards  proved  most  useful.    "  AL- 
CESTE," Vienna,  Dec.  16,  1797,  and 
"  Paride  ed  Elena,"  1770,  produced  at 
Vienna,  were  the  first  operas  in  which 
he  exemplified  his  art  theories.     The 
adverse  criticism  which  they  provoked 
determined  his  withdrawal  to  Paris, 
where    his    "  IPHIGENIE    EN    AU- 
LIDE,"  based  on  Racine's  drama,  was 
produced  April  19,  1774,  at  the  Op6ra. 
Only  the  patronage  of  his  former  pupil, 
Marie  Antoinette,  now  Queen  of  France, 
sufficed  to   uphold  the  composer,  but 
this  work,  followed  by  "  ORPHEE  ET 
EURYDICE,"    1774,    and    "Alceste," 
adapted   to   the   French   stage,    1776, 
eventually    resulted    in    the    shelving 
of  Rameau  and  Lulli.     "ARMIDE" 
was  produced  Sept.  23,  1777.    Piccini, 
the  Italian  composer,  produced  his  "Ro- 
land "  on  the  same  theme  four  months 
later,  and  then  began  the  war  of  the 
Gluckists  and  Piccinists,  which  for  a 
time  divided  the  musicians  of  France 


G  ISOLL 


23? 


GOSrBEY 


into  two  hostile  camps,  but  resulted  in 
a  complete  victory  for  Gluck.  Both  com- 
posers set  "IPHIGENIE  EN  TAU- 
RIDE,"  but  that  of  Gluck,  May  18, 
1779,  was  wholly  successful,  while  that 
of  Piccini,  Jan.  23,  1781,  fell  flat. 
"Echo  et  Narcisse,"  Sept.  21,  1779, 
proved  to  be  Gluck's  last  opera,  and  it 
was  not  a  complete  success.  He  had 
meant  to  compose  "Les  Danaldes,"  but 
was  struck  down  with  apoplexy,  gave 
the  libretto  to  Salieri,  and  retired  to 
Vienna.  Others  of  Gluck's  operas 
which  may  be  mentioned  are:  "  Semi- 
ramide  riconosciuta,"  1748 ;  "  La  Cle- 
menza  di  Tito,"  1752;  "  Telemacco," 
1765,  "L'Abre  enchante,"  1775;  "  Cy- 
there  Assi6g6e,"  1775.  Besides  his 
operas  Gluck  composed  church  music, 
symphonies,  a  concert,  a  string  quar- 
tet, trios,  sonatas,  and  songs.  B.  July 
2,  1714,  Weidenwang,  Upper  Palati- 
nate;   d.  Nov.  15,  1787,  Vienna. 

O  SEoU.     Oer.    Key  of  G  minor. 

Gnaccare.     It.     Castinets. 

Gnecco  (Prancesco)  composed  the 
operas  "  Carolina  e  Filandro,"  Paris, 
1817;  "La  Prova  d'un  opera  seria," 
Milan,  1805,  and  other  operas.  B. 
Genoa,  1769;    d.  1811,  Turin. 

Godard  (Benjamin  Louis  Paul) 
composed  "  Tasso,"  dramatic  sym- 
phony with  soli  and  chorus  which 
won  the  Paris  municipal  prize,  1878; 
"  Scenes  Pogtiques,"  "  Diane,"  dra- 
matic poem;  Symphonie-ballet; 
"  Ouverture  dramatique,"  "  Symphonie 
Gothique,"  "  Symphonie  Orientale," 
"Les  Elephants,"  "Symphonie  L6- 
gendaire  "  for  orchestra  with  soli  and 
chorus;  the  "Lanterne  magique" 
suite,  the  operas  "  Les  Bijoux  de  Jean- 
nette,"  "Pedro  de  Zalamea,"  "Joce- 
lyn,"  "Le  Dante,"  "Jeanne  d'Arc," 
"La  Vivandiere,"  "Les  Guelphes," 
and  "  Ruy  Bias."  Pupil  of  the  Paris 
Conservatoire,  he  studied  violin  under 
Hammer  and  harmony  with  Eeber; 
played  viola  in  various  chamber  or- 
ganizations, and  composed  songs  and 
chamber  music  as  well  as  in  larger 
forms.  B.  Aug.  18,  1849,  Paris;  d. 
Jan.  10,  1895,  Cannes. 

Godbin  (William)  printed  all  the 
musical  publications  of  John  Play- 
ford,  London,  1658-78.    For  the  next 


10  years  the  business  was  in  the  hands 
of  his  widow,  and  on  her  death  it  was 
taken  over  by  J.  Playford,  Jr.,  and 
sold  at  auction  on  his  death,  1686. 

Goddard  (Arabella)  played  piano 
with  distinction,  debut  at  London, 
1850,  touring  Europe,  America,  Aus- 
tralia, and  India;  pupil  of  Kalkbren- 
ner,  Thalberg,  and  of  J.  W.  Davidson, 
whom  she  married,  1859.  B.  Jan.  12, 
1836,  St.  Malo,  Brittany;  add.  Tun- 
bridge  Wells,  Eng. 

Godefroid  (Jules  Joseph.)  com- 
posed the  comic  operas  "  Le  Diast€ " 
and  "  La  Chaase  royal  " ;  played  harp. 
B.  Feb.  23,  1811,  Namur;  d.  Feb.  27, 
1840,  Paris.  Dieudonng  Joseph 
Guillaume  Felix  composed  the  operas 
"  La  harpe  d'or  "  and  "  La  dernifire 
bataille  " ;  the  oratorio  "  La  iille  du 
Saul,"  and  harp  music;  played  harp. 
B.  July  24,  1818,  Namur;  brother  of 
JULES  JOSEPH;  d.  July  8,  1897, 
Villers-sur-Mer. 

Godfrey  (Charles)  was  bassoon 
player  and  bandmaster  of  the  Cold- 
stream Guards  for  50  years;  founded 
"  Jullien'a  Journal,"  the  first  English 
publication  devoted  to  military  music. 
B.  Kingston,  Surrey,  Eng.,  Nov.  22, 
1790;  d.  Dec.  12,  1863.  Daniel  com- 
posed waltzes  for  military  band;  first 
bandmaster  of  the  Grenadier  Guards, 
then  of  his  own  band,  with  which  he 
toured  America,  1872.  B.  Sept.  4, 
1831;  son  of  CHARLES;  d.  June  30, 
1903,  Beeston,  near  Nottingham. 
Adolphus  Frederick  succeeded  his 
father  CHARLES  as  bandmaster  of 
the  Coldstream  Guards,  held  that  post 
17  years.  B.  1837,  Westminster;  d. 
Aug.  28,  1882.  Charles,  Jr.,  served 
as  bandmaster  of  the  Scots  Fusiliers, 
1859  to  1868,  when  he  accepted  a  simi- 
lar post  with  the  Royal  Horse  Guards, 
and  served  until  1904;  taught  mili- 
tary music,  Royal  College  of  Music 
and  Guildhall  School  of  Music,  London. 
B.  Jan.  17,  1839;  d.  1904;  son  of 
CHARLES.  Daniel  Eyers  conducted 
the  London  Military  Band,  1890, 
toured  South  Africa  with  opera  com- 
pany, became  conductor  and  manager 
of  concerts  at  Bournemouth,  Eng. 
B.  1868;  son  of  DANIEL;  add. 
Bournemouth.    Arthur  Eugene  com- 


GODOWSKT 


238 


GOLDMAKE 


posed  the  musical  comedy  "  Little  Miss 
Nobody,"  a  string  quartet,  and  songs ; 
conducted  at  London  theatres;  man- 
ager of  Hopwood  &  Crew.  B.  Sept.  28, 
1868;  son  of  CHARLES,  JR.;  add. 
London.  Charles  George  arranged 
military  music;  composed  for  orches- 
tra; directed  music  at  the  Spa,  Soar- 
borough,  Eng.  B.  Dec,  1866;  son  of 
CHARLES,  JR.;  add.  Scarborough. 
Herbert  A.  composed  the  ballet  "  The 
Home  of  the  Butterflies  " ;  played  solo 
cornet  and  conducted  the  Crystal  Pal- 
ace Military  Band.  B.  1869;  son  of 
CHARLES,  JR.;    add.  London. 

Godowsky  (Leopold)  composed  a 
Polonaise  in  C,  two  concert  valses,  a 
Toccata,  songs,  50  studies  on  Chopin; 
played  piano  in  concert  with  distinc- 
tion; founded  a  music  school  in 
Chicago ;  pupil  of  Bargiel  and  Rudorff 
at  the  Berlin  Hochschule.  B.  Feb.  13, 
1870,  Wilna,  Russian  Poland;  add. 
Chicago. 

God  save  the  King  was  written 
and  composed,  in  all  probability,  by 
Henry  Carey,  and  sung  by  him  as  his 
own  work  at  a  dinner  given  in  1740 
by  Admiral  Vernon  to  celebrate  the 
taking  of  Portobello.  The  authorship 
has  been  claimed,  however,  for  Lulli, 
Dr.  Bull,  James  Oswald,  a  Scotch 
musician,  and  is  probably  an  adapta- 
tion of  folksong.  The  so-called  na- 
tional anthem  of  England,  it  serves  as 
the  tune  of  "  MY  COUNTRY  'T  IS  OF 
THEE,"  otherwise  "  AMERICA  " ;  as 
the  tune  of  the  Danish  national  air, 
"  Heil  Dir,  dem  libenden,"  and  the 
German  "Heil  Dir  im  Siegerkranz." 
The  tune  was  employed  by  von  Weber 
in  his  Jubel  overture,  "  Kampf  und 
Sieg,"  No.  9,  and  he  twice  harmonized 
it  for  four  voices,  and  by  Beethoven 
in  his  "  Battle  Symphony."  Beethoven 
wrote  seven  variations  on  it  for 
piano,  and  arranged  it  for  solo  and 
chorus  with  piano,  violin,  and  'cello 
accompaniment. 

Goetz  (Hermann)  composed  the 
successful  opera  "  Der  Widerspansti- 
gen  Zahmung"  to  J.  V.  Widmann's 
book  based  on  "  The  Taming  of  the 
Shrew,"  choral  setting  of  Schiller's 
"  Nanie,"  Psalm  cxxxvii  for  sop.,  cho- 
rus,  and   orchestra,   symphony  in   F 


major,  violin  concerto  in  G  major, 
songs,  and  the  posthumous  opera, 
"  Francesca  di  Rimini,"  which  was  not 
successful.  Pupil  of  Ulrich  in  com- 
position and  von  Billow  for  piano  at 
the  Stern  Conservatory,  Berlin;  died 
on  the  threshold  of  a  brilliant  career. 
B.  Dec.  17,  1840,  Konigsberg;  d.  Dec. 
3,  1876. 

Goldberg  (JTohann  Gottlieb)  com- 
posed a  motet,  psalms,  instrumental 
music,  all  of  which  is  unpublished; 
played  organ  and  clavier  admirably; 
was  J.  S.  Bach's  favourite  pupil  and 
induced  him  to  write  the  30  "  Gold- 
berg Variations "  for  Count  Bruehl, 
to  whom  he  was  chamber  musician. 
B.  1720,  KSnigsberg. 

Goldberg  (Joseph  Fasquale)  in- 
stituted reforms  in  the  Italian  music 
schools  with  the  approval  of  the  Min- 
istry of  Public  Instruction,  1871; 
played  violin  and  sang  and  taught 
vocal ;  composed  "  La  Marcia  Trion- 
fale,"  to  which  Victor  Emmanuel's 
troops  first  entered  Rome;  Chevalier 
of  the  Crown  of  Italy.  B.  Jan.  1,  1825, 
Vienna;   d.  Dec.  20,  1890,  Vienna. 

Goldmark  (Carl)  composed  the 
operas  "CRICKET  ON  THE 
HEARTH"  (Das  Heimschen  am 
Herd ) ,  "  MERLIN,"  "  KONIGEN 
VON  SABA,"  "Goetz  von  Berlichin- 
gen,"  "  Die  Kriegsgefangene,"  "  Der 
Fremdling,"  the  widely  known  orches- 
tral pieces  "  Sakuntala,"  "  Penthesi- 
lea,"  and  "Landliche  Hochzeit" 
(suite),  and  chamber  music.  In  1844 
he  became  a  pupil  of  Bohm,  Jansa, 
and  Preyer  at  the  Vienna  Conserva- 
tory, and  when  that  institution  was 
temporarily  closed  four  years  later 
played  in  theatrical  orchestras  at 
Raab,  where  he  narrowly  escaped  being 
shot  as  a  rebel,  and  in  Vienna,  where 
he  made  his  debut  as  a  composer  in 
1857.  The  "Queen  of  Sheba,"  or 
"  KSningen  von  Saba,"  produced  at 
the  Imperial  Vienna  Opera,  1875,  es- 
tablished him  as  a  composer.  There- 
after his  life  was  industrious  but  un- 
eventful. Other  works  to  be  noted 
are :  Scherzo  in  E  minor  for  orchestra, 
"  Friihlingshymne "  for  con.,  chorus, 
and  orchestra;  sonata  for  violin  and 
piano  in  D,  Op.  25;   violin  concerto  in 


GOIiDSCHMIDT 


239 


GOITBOLIEBS 


A  minor.  Op.  28 ;  symphony  in  E  flat. 
Op.  35;  sonata  for  piano  and  'cello. 
Op.  39;  suite  in  E  flat  for  piano  and 
violin,  Op.  43;  the  symphonic  poem 
"  Zrinyi,"  and  a  second  violin  con- 
certo. B.  Keszthely  on  the  Platten- 
see,  Hungary,  May  18,  1830;  add. 
Vienna. 

Goldsclimidt,  von  (Adalbert) 
composed  the  allegorical  opera  "  Die 
Sieben  Todsunden,"  Berlin,  1879,  the 
music  drama  "  Helianthus "  to  his 
own  book;  the  triology  "  Gaea,"  "  Die 
fromme  Helene,"  Hamburg,  1897,  a 
sjonphonic  poem  and  nearly  100  songs. 
B.  May  5,  1848,  Vienna;   add.  Vienna. 

Ooldsohmidt  (Otto)  founded  the 
Bach  Choir  in  London;  composed  a 
piano  concerto  and  the  oratorio 
"Kuth";  conducted  Jenny  Lind's 
American  concerts  in  succession  to 
Sterndale  Bennett;  married  Jennie 
Lind  in  Boston,  Feb.  5,  18S2;  con- 
ducted Diisseldorf  and  Hamburg  Festi- 
vals; vice  principal  Royal  Academy 
of  Music,  London.  B.  Hamburg,  Aug. 
21,  1829;    add.  London. 

Goldwin  (Joliii)  composed  the  an- 
them "  I  have  set  God  alway  before 
me,"  Service  in  F,  and  other  church 
music;  played  organ  St.  George's 
Chapel,  Windsor.  B.  1670;  d.  Nov. 
7,  1719. 

Golinelli  (Stefano)  composed  200 
piano  pieces,  including  12  studies,  48 
preludes,  five  sonatas;  toured  Europe 
as  concert  pianist;  taught  in  the  Bo- 
logna Liceo,  1840-70.  B.  Oct.  26,  1818, 
Bologna;    d.  July  3,  1891,  Bologna. 

Gollmick  (Adolf)  composed  the 
operas  "  Balthazar,"  "  The  Oracle," 
"Dona  Costanza,"  "The  Heir  of 
Lynne,"  symphony  in  C  minor,  dra- 
matic cantata  "The  Bliiid  Beggar  of 
Bethnal  Green";  gave  concerts  in 
Germany  and  England.  B.  Frankfort- 
am-Main,  Feb.  5,  1825;  d.  Mar.  7, 
1883,  London. 

Goltermann  (August  Julius) 
taught  'cello  at  Prague;  played  in 
Stuttgart  court  band.  B.  Hamburg, 
July  15,  1825;   d.  1876,  Stuttgart. 

Goltermanii  (Georg  Eduard) 
composed  a  concerto  for  'cello ;  a  sym- 
phony, toured  Europe  as  concert  'cell- 
ist;  conducted  25  years  at  the  Frank- 


fort Stadt  Theatre.  B.  Aug.  19,  1824, 
Hanover;    d.  Dec.  29,  1898,  Frankfort. 

Gombert  (Nicholas)  composed 
songs  and  church  music;  pupil  of  Jos- 
quin;  musician  to  the  Emperor  Charles 
V,  prebend  and  canon  .of  Tourney,  at- 
tached to  the  Imperial  chapel  in 
Madrid.     B.  Bruges  about  1495. 

Gomez  (Antonio  Carlos)  composed 
"  II  Saluto  del  Brasile  "  for  the  Phila- 
delphia Exposition,  1876;  the  cantata 
"  Colombo  "  for  the  Columbus  Festival 
of  1S92 ;  the  operas  "  II  Guarany,"  La 
Scala,  1870;  "  Eosca,"  "Salvator 
Rosa,"  Genoa,  1874;  "Maria  Tudor," 
"Lo  iSchiavo,"  1889,  and  "Condor," 
Milan,  1891.  The  composer's  first  suc- 
cess in  dramatic  work  was  "  A  noite 
do  castello,"  Rio  de  Janeiro,  1867, 
after  which  he  was  sent  to  Europe  to 
study  by  the  Emperor  of  Brazil.  B. 
July  11,  1839,  Compinas,  Brazil;  d. 
Sept.  16,  1896,  Para. 

Gompertz  (Richard)  compdsed 
sonata  for  violin  and  piano,  violin 
concert,  songs  and  violin  studies; 
founded  the  Cambridge  string  quartet; 
taught  violin  at  the  Royal  College  of 
Music,  London ;  pupil  of  Joachim;  B. 
April  27,  1859,  Cologne;  add.  Dresden. 

Gondoliers.  Sir  Arthur  Sullivan's 
comic  opera  to  the  last  book  written 
for  him  by  W.  S.  Gilbert  was  first  per- 
formed at  the  Savoy  Theatre,  London, 
Dec.  7,  1889.  The  two  gondoliers  are 
Marco  and  Giuseppe,  one  of  whom  is 
king  of  Bscrataria,  stolen  in  infancy 
as  punishment  to  the  reigning  king  for 
having  become  a  Methodist,  and  as  the 
person  who  knows  them  apart  or 
should,  had  such  a  terrible  taste  for 
tippling  that  he  could  not  be  relied 
upon,  both  gondoliers  are  sent  back 
to  Barataria  to  reign  until  the  truth 
shall  be  disclosed,  pending  which  there 
is  much  of  Mr.  Gilbert's  keen  humour 
and  of  Sir  Arthur's  best  music.  Some 
of  the  musical  numbers  are :  "  We  're 
called  Gondolieri,"  Marco  and  Giu- 
seppe ;  "  In  Enterprise  of  Martial 
Kind,"  the  Duke;  "  There  was  a  time," 
Casilda  and  Luiz;  "  I  stab  the  Prince," 
Inquisitor;  "  When  a  merry  maiden 
marries,"  Tessa;  "Then  one  of  us 
will  be  Queen,"  quartet;  "For  every 
one  who   feels   inclined,"   Marco   and 


GOTSlCr 


uo 


GOSSEC 


chorus;  "Rising  early  in  the  morn- 
ing," Giuseppe;  "  There  lived  a  king," 
the  Inquisitor;  "  On  the  Day  when  I 
was  wedded,"  the  Duchess ;  "  I  am  a 
courtier  grave  and  serious,"  quintet. 

Gong.  Chinese  percussion  instru- 
ment consisting  of  a  thin  plate  of 
bronze  which  emits  a  weird  crashing 
sound  when  struck,  or  rather  rubbed 
with  a  padded  drumstick. 

Goodban  (Thomas  Goodhurst) 
wrote  "  The  Rudiments  of  Music," 
1825,  instruction  books  for  the  violin 
and  piano;  founded  and  directed  the 
Canterbury  Catch  Club  and  sang  in 
Canterbury  Cathedral.  B.  Dec.  21, 
1784,  Canterbury;  d.  May  4,  1863, 
Canterbury.  Charles  played  'cello. 
B.  1812;  son  of  T.  C;  d.  1881. 
Henry  William  composed  an  overture 
and  played  'cello.  B.  1816,  son  of 
T.  G.  Thomas  played  violin.  B.  1822; 
son  of  T.  G.  James  Frederic  played 
violin;  organist  at  St.  John's,  Pad- 
dington.  B.  1833;  nephew  of  T.  G.; 
d.  Feb.  1,  1903,  Harborne,  Kent,  Eng. 

Goodgroome  (John)  sang  in  Eng. 
Chapel  Royal  and  became  musician  in 
ordinary  to  Charles  II.  B.  1630;  d. 
June  27,  1704,  London. 

Goodson  (Bichard)  taught  music, 
Oxford  Universtiy;  played  organ  at 
Christ  Church.  B.  1655;  d.  Jan.  13, 
1718,  Great  Tew.  Kichard  succeeded 
to  his  father's  Oxford  appointments 
and  was  also  organist  to  New  College. 
B.  1709;  son  of  RICHARD;  d.  Jan. 
9,  1741. 

Goovaerts  (Alphonse  Jean  IMarle) 
helped  Belgian  prelates  to  found  the 
Gregorian  Association,  1881;  wrote  a 
"  History  of  Music  Printing  in  the 
Netherlands,"  which  won  the  gold 
medal  of  the  Belgian  Academie;  "La 
Musique  d'^glise  " ;  composed  church 
music;  rendered  valuable  service  in 
transcribing  Palestrina,  Lasso,  etc., 
while  musical  secretary  to  the  Ant- 
werp Cathedral.  B.  May  25,  1847, 
Antwerp;    add.  Antwerp. 

Gordigiani  (Lugi)  composed  the 
opera  "  Filippo  "  in  which  he,  his  wife, 
and  brother  took  part,  Naples,  1840; 
nine  other  operas,  and  more  than  300 
highly  popular  songs.  B.  June  21, 1806, 
Modena;    d.  May  1,  1860,  Florence. 


Gordon  (John)  became  Gresham 
professor  of  music  at  Oxford,  1723. 
B.  Mar.  26,  1702,  London;  d.  Dec.  12, 
1739. 

Gordon  (William)  anticipated 
Bohm's  improvements  of  the  flute,  but 
failed  to  market  his  inventions  and 
became  insane;  captain  of  the  Swiss 
Guards  in  Paris  and  an  amateur  flaut- 
ist. B.  Sviritzerland,  of  English  de- 
scent;   d.  about  1840. 

Gorgheggi.    /*.    Trills,  quiverings. 

Goria  (Alexandre  Eduard)  taught 
piano  and  composed  drawing  room 
pieces;  won  first  piano  prize  Paris 
Conservatoire,  1835.  B.  1823,  Paris; 
d.  July  6,  1860. 

Gosba.    Arabian  FLUTE. 

Goss  (Dr.  Sir  John)  composed  "  If 
we  believe,"  "  Praise  the  Lord,  0  my 
Soul,"  and  in  all  27  anthems;  wrote 
"An  Introduction  to  Harmony  and 
Thorough  Bass,"  1833,  and  the  "Or- 
ganist's Companion  " ;  edited  "  Chants 
Ancient  and  Modern,"  the  "  Church 
Psalter  and  Hymnbook  " ;  played  or- 
gan St.  Paul's  Cathedral  and  became 
composer  to  the  Eng.  Chapel  Royal. 
B.  Dec.  27,  1800,  Fareham,  Hants, 
Eng.;  son  of  an  organist;  d.  May  10, 
1880,  Brixton. 

Goss  (John  Jeremiah)  sang  alto 
in  Eng.  Chapel  Royal;  became  vicar 
choral  of  St.  Paul's,  and  lay  vicar 
Westminster  Abbey.  B.  1770,  Salis- 
bury;   d.  April  25,  1817,  London. 

Gossec  (Frangois  Joseph)  com- 
posed 26  symphonies  for  full  orches- 
tra, the  first  of  which  appeared  before 
Haydn's  earliest  publication,  "Les 
Pecheurs,"  1776,  "  Alexis  et  Daphne," 
"  Philemon  et  Baucis,"  and  other 
highly  popular  operas,  a  "  Messe  Des 
Morts"  for  St.  Roeh,  1760,  in  which 
he  introduced  a  double  orchestra  for 
the  "  Tuba  Mirum " ;  founded  the 
"  Concert  des  Amateurs,"  Paris,  1770; 
reorganized  the  "  Concerts  Spirituel," 
1773;  conducted  at  the  Acad&nie;  or- 
ganized the  "  ficole  de  Chant,"  which 
preceded  the  Conservatoire  de  Musique, 
1784;  conducted  the  band  of  the  Na- 
tional Guard  during  the  French  Revo- 
lution, and  composed  the  "  Hymne  a 
I'Etre  Supreme,"  music  for  Mirabeau's 
funeral;    was  joint  inspector  of  the 


GOSTLING 


241 


GOUNOD 


Conservatoire  with  Cherubini  on  the  the  management  of  Max  Strakosch. 
establishment  of  that  institution;  B.  May  8,  1829,  New  Orleans;  d.  Dec. 
member  of  the  Institut;  Chevalier  18,  1869,  Rio  de  Janeiro. 
of  the  Legion  of  Honor.  In  boyhood  Gottsched  (Johann  Christoph.) 
Gossec  was  chorister  in  the  Antwerp  aided  in  establishing  German  opera 
Cathedral,  and  when  his  voice  broke  and  while  professor  at  Leipsie  Uni- 
he  went  to  Paris,  where  he  met  versity  made  his  home  an  important 
Eameau,  1751,  through  whose  influ-  music  centre.  B.  near  Konigsberg, 
ence  he  became  conductor  of  the  pri-  Feb.  2,  1700;  d.  Dec.  12,  1766,  Leipsie. 
vate  band  maintained  by  La  Popelin-  Goudimel  (Claude)  composed  five 
iere,  and  later  composer  and  conductor  masses  and  a  magnificat  in  early  life, 
to  the  Prince  de  Conde.  Largely  self-  joined  the  Huguenots  about  1558,  corn- 
taught,  almost  without  infiuence,  Gos-  posed  numerous  psalms  which  are  re- 
sec's  rise  was  wholly  due  his  own  printed  in  the  psalters  of  the  Re- 
talents  and  industry.  B.  Vergnies,  formed  Church  in  various  languages 
Belgium,  Jan.  17,  1734;   d.  Passy,  Feb.  during  the  17th  and  18th  centuries; 

16,  1829.  composed  chansons  published  in  Paris, 
Gostling    (Rev.    Jolin)    sang    in  1549,    1572.      Certain   of   Goudimel's 

Eng.  Chapel  Royal,  famous  for  com-  themes  appear  in  Palestrina's  works, 

pass  and  volume  of  his  bass;    became  but  recent  researches  have  disproved 

royal   chaplain   and   sub-dean   of   St.  the  tradition  that  he  founded  a  music 

Paul's.    B.  Kent,  Eng.,  1650;    d.  July  school  in  Rome  where  Palestrina  was 

17,  1733.  said  to  have  been  one  of  his  pupils. 
Gotterdammerung.       The     fourth  B.   about   1505,   Besancon;    killed  in 

and   last    part   of   Richard   Wagner's  the  attack  on  the  Huguenots  at  Lyons, 

"RING  DES   NIBELUNG"   was  Aug.  27,  1572. 
first    performed    Aug.    17,    1876,    at 
Bayreuth. 

Gottschalk    (Louis    lloreau)   be- 


Goulding  &  Co.    published  music 
in   London,    1784   to    1835,  when  the 
firm  became  D'Almaine  &  Co,  and  con- 
came  the  most  celebrated  of  American    tinued  under  that  name  until  1867,  in 
piano   virtuosi,  '  touring   Europe   and    which  year  the  stock  and  plates  were 
North  and  South  America  with  great    sold  by  auction. 


success;  composed  the  symphonies  "La 
Nuit    des    Tropiques "    and    "  Monte- 


Gounod     (Charles)     composed 
'  FAUST,"    which    deservedly    ranks 


video,"  the  operas  "  Charles  IX,"  and  with  the  most  popular  operas  in  mod- 
"Isaura  de  Salerno,"  for  which  he  ern  repertoire,  "ROMEO  ET  JULI- 
could  not  obtain  a  hearing,  a  tri-  ETTE,"  the  beauty  of  which  has  only 
mnphal  cantata,  grand  march  for  the  recently  been  appreciated,  much  church 
Emperor  of  Brazil,  "  Escenas  campes-  music  of  the  highest  order ;  ranked 
tres  cubanas,"  "  Tarantella  "  for  piano  with  the  greatest  of  modem  composers 
and  orchestra,  and  much  forgotten  not  only  of  France,  but  of  the  world, 
piano  music,  including  "  Bananier,"  Gounod's  mother,  an  able  musician  and 
which  made  him  famous  at  16.  Gotts-  pianist,  was  his  first  instructor,  but 
chalk  was  the  son  of  an  English  sei-  having  completed  a  classical  course  at 
entist,  his  mother  being  a  daughter  of  the  Lycge  St.  Louis,  he  entered  the 
Count  Antoine  de  Brusle,  Governor  Paris  Conservatoire,  1836,  studying 
of  San  Domingo.  The  family  was  counterpoint  under  Halfivy  and  corn- 
wealthy,  and  having  manifested  a  position  with  Paer  and  Lesueur. 
talent  for  music  at  an  early  age,  he  "  Marie  Stuart  et  Rizzio,"  his  cantata, 
was  sent  to  Paris  to  study,  his  mas-  won  the  prix  de  Rome,  1837,  and  his 
ters  being  Charles  Halle,  Camille  cantata  "Fernand"  won  the  grand 
Stamaty,  and  Maleden.  Loss  of  the  prix,  1839.  In  Rome  he  was  a  careful 
family  fortune  decided  him  upon  a  student  of  Palestrina.  A  mass  for 
professional  career,  and  his  first  tour  three  voices  and  orchestra  was  pro- 
-  made  in  1852  with  com-  dueed,  1841,  and  the  3-part  mass  a 
Later  he  toured  under  eapella,  Vienna,  1842.  He  returned  to 
16 


in  Europe  was  made  in  1852  with  com- 
plete success     '    '      '     ^        ^ 


GOTTNOD 


243 


GBACE  NOTES 


Paris  by  way  of  Austria  and  Germany, 
and  on  the  journey  first  became 
acquainted  with  Schumann's  music. 
Again  settled  in  Paris,  he  became  or- 
ganist and  choirmaster  at  the  "  Mis- 
sions etrangeres,"  and  studied  for  the 
priesthood,  without,  however,  taking 
orders.  His  solemn  mass  in  Gr,  soli, 
chorus,  orchestra,  and  organ,  dates 
from  this  period.  "  Sapho,"  his  first 
opera,  was  produced  April  16,  1851, 
at  the  Acad€mie,  and  in  1852  and  for 
the  next  eight  years  he  was  conductor 
of  the  "ORPHEON,"  for  which  he 
composed  two  masses  for  men's  voices. 
The  two  symphonies  in  D  and  E  flat 
composed  at  this  time  added  but  little 
to  his  reputation,  and  his  dramatic 
works  met  with  no  great  success  until 
the  production  of  "Faust,"  Theatre 
Lyrique,  Mar.  19,  1859.  The  imme- 
diate success  of  this  opera  enabled  him 
to  produce  his  "  Reine  de  Saba "  at 
the  Academic,  Feb.  28,  1862,  but  this 
work,  although  containing  several 
gems  still  heard  in  concert,  was  soon 
retired.  Then  came  "Mireille,"  founded 
on  a  poem  by  F. Mistral,  "La  Colombe," 
and  "  Romeo  et  Juliette,"  April  27, 
1867.  The  Franco-Prussian  war  drove 
Gounod  to  London,  where  he  appeared 
at  many  concerts  and  founded  the 
Gounod  Choir,  but  in  1875  he  returned 
to  Paris,  where  he  produced  a  number 
of  dramatic  works,  none  of  which  was 
successful.  Besides  the  church  music 
already  referred  to,  Gounod  composed 
a  Stabat  Mater  with  orchestra,  a  De 
Profundis,  an  Ave  Verum,  Te  Deum, 
a  fourth  Messe  Solennelle,  "  Mesae  a 
Saint  Cecile,"  "  Messe  a  Jeanne  d'Arc," 
"Messe  Angeli  custodes,"  the  oratorios 
"  Tobie,"  "  Les  Sept  Paroles  de  Jesus," 
"  Jesus  sur  la  lac  de  Tiberiade."  He 
became  a  member  of  the  Institut,  1866, 
and  Grand  Officer  of  the  Legion  of 
Honor,  1880.  Other  works  to  be  noted 
are  the  operas  "  Nonne  Saglante," 
"  Cinq  Mars,"  "  Le  Medicin  malgrg  lui," 
"  Polyeucte,"  "  PHILEMON  ET  BAU- 
CIS," "  Le  Tribut  de  Zamora  " ;  a  sym- 
phony, "  La  Reine  des  Ap6tres,"  the 
cantata  "  Le  vin  des  Gaulois  et  le 
danse  de  I'epee."  the  posthiimous 
operas  "Maitre  Pierre"  and  "Georges 
Dandin,"  a  mass  for  St.  Peter's,  Rome ; 


the  lamentation,  "  Gallia,"  soprano, 
chorus,  and  orchestra,  "  The  Redemp- 
tion," Birmingham  Festival,  1882; 
"  Mors  et  Vita,"  a  Meditation  for  so- 
prano with  obbligato  violin  on  a  Bach 
Prelude,  "Nazareth,"  "There  is  a  green 
hill,"  hymns  and  songs,  piano  music. 
He  also  wrote  a  method  for  cornet-a- 
piston.  B.  June  17,  1818,  Paris;  d. 
Oct.  18,  1893,  St.  Cloud.  See  Auto- 
biography; memoirs  by  Marie  Anne 
de  Bovet,  1891,  and  Theodore  Dubois, 
1895. 

Oouvy  (Louis  Theodore)  composed 
the  opera  "  Der  Cid,"  seven  sym- 
phonies, Stabat  Mater,  Mass,  Requiem, 
the  cantata  "  Golgotha,"  much  cham- 
ber music;  pupil  of  Elwaert;  member 
of  the  Berlin  Academy,  1895;  Cheva- 
lier of  the  Legion  of  Honor,  1896.  B. 
July  2,  1819,  Goffontaine,  Saarbruck; 
d.  April  21,  1898,  Leipsic. 

Gow  (ITiel)  became  famous  for  his 
performance  of  Scotch  reels  at  fash- 
ionable gatherings  in  London,  playing 
violin,  aided  by  his  brother  Donald,  a 
'cellist.  Some  compositions,  such  as 
"  Caller  Herrin,"  are  included  with 
those  of  his  four  sons  in  a  collection 
issued  by  the  family.  B.  Mar.  22, 1727, 
Inver,  near  Dunkeld;  d.  there.  Mar.  1, 
1807.  Nathaniel  published  music  in 
Edinburgh  in  partnership  with  Wil- 
liam Shepherd,  1796,  later  with  his 
son  Niel;  played  violin  and  led  dance 
music;  failed  in  business,  but  was 
pensioned  by  George  IV  and  by  the 
Caledonian  Hunt.  B.  May  28,  1763, 
Inver;  son  of  NIEL;  d.  Jan.  19,  1831. 
William  played  violin  and  composed 
dance  music.  B.  1751;  son  of  KIEL; 
d.  1791.  John  played  violin;  com- 
posed dance  music.  B.  1764;  son  of 
NIEL;  d.  1826.  Niel,  Jr.,  composed 
"  Flora  Macdonald's  Lament,"  "  Cam' 
ye  by  Athol " ;  assisted  his  father 
NATHANIEL  in  business.  B.  1795; 
d.  Nov.  7,  1823. 

Grabu  (Louis)  composed  the  opera 
"Ariadne,"  Drury  Lane,  1674,  and 
Dryden's  "  Albion  and  Albanius  " ;  led 
court  band  of  Charles  II.  B.  France; 
settled  in  England,  1666;  last  publi- 
cation 1690. 

Grace  Notes.  APPOGGIATURA, 
ACCIACCATURA,    MORDENTS, 


GBACIEUX 


343 


OBANSSIBiE 


TURNS,  SHAKES,  and  other  orna- 
ments in  vocal  and  instrumental 
music,  indicated  by  various  signs  in 
NOTATION. 

Oracieux.     Pr.    Graceful. 

Gracile.     /*.    Thin,  small. 

Grad.  Oer.  Degree  or  step  in  the 
scale. 

Gradation.  By  degrees  of  the 
scale. 

Gradener  (Carl  Georg  Peter) 
composed  two  symphonies,  the  oratorio 
"  Johannes  der  Taufer,"  chamber  mu- 
sic; founded  the  Hamburger  Ton- 
kfinstlerverein,  1867 ;  taught  vocal  and 
theory  in  Vienna  and  Hamburg  Con- 
servatories. B.  Rostock,  Jan.  14,  1812; 
d.  June  10,  1883,  Hamburg.  Hermann 
Theodor  Otto  composed  chamber  mu- 
sic and  for  orchestra;  lectured  on 
counterpoint  and  harmony,  University 
of  Vienna.  B.  Kiel,  May  8,  1844;  son 
of  C.  G-.  P.;    add.  Vienna. 

Gradevole.    It.    Grateful. 

Gradevolmente.      It.     Gratefully. 

Graditissimo.     It.    Most  grateful. 

Gradleiter.     Ger.     Scale. 

Grado.  L.  Degree  or  step  In  the 
scale. 

Gradual.  In  the  Roman  Catholic 
liturgy,  music  between  the  Epistle  and 
the  Gospel ;  hence  the  book  containing 
the  music  of  the  MASS  for  the  use 
of  choirs,  as  distinguished  from  the 
MISSAL  which  is  reserved  for  the 
celebrant. 

Gradus  ad  Parnassum.  L.  "The 
Road  to  Parnassus."  Joseph  FUX 
so  entitled  his  great  work  on  counter- 
point and  composition,  and  the  name 
was  also  adopted  by  Muzio  Clementi 
for  his  collection  of  piano  studies. 

Grafton  (Brichard)  published  Cran- 
mer's  Litany,  1544,  and  reprinted  John 
JMarbeoke's  "  Booke  of  Common  praier 
noted,"  1550.  B.  London;  d.  about 
1571. 

Graham  (George  Farquhar)  com- 
posed ballads  and  wrote  articles  on 
musical  subjects  for  the  Encyclopedia 
Britanniea;  largely  self  taught  in 
music.  B.  Dec.  29,  1789,  Edinburgh; 
d.  Mar.  12,  1867. 

Gran  Cassa  or  Tambnro.  It. 
Bass  DRUM. 

Grancino  (Paolo)  made  violins  in 


Milan;  pupil  of  Nicolo  Amati.  B. 
Milan ;  his  instruments  are  dated  from 
1665  to  1690.  Giovanni  made  viol  in- 
atrvunents  of  quality  superior  to  those 
of  his  father  PAOLO,  which  are  dated 
1696  to  1715.  The  business  was  con- 
tinued by  his  sons  Giambattista  and 
Francesco  as  Pratelli  Grancini. 

Grand  means  in  complete  classic 
form  when  prefixed  to  sonata,  sym- 
phony, or  concerto ;  complete  when  pre- 
fixed to  orchestra;  of  the  largest  pro- 
portions, volume,  and  form  when  ap- 
plied to  a  piano;  of  serious  purport 
and  sung  throughout  when  prefixed  to 
opera. 

Grand  Barre.  Pr.  To  stop  all  the 
strings  at  once  with  the  forefinger  in 
-guitar  playing,  thus  altering  the  pitch 
of  the  instrument. 

Grand  Bourdon.  32  ft.  pedal 
organ  stop. 

Grandezza.     It.     Grandeur. 

Grandi  (Alessandro)  composed 
madrigals  and  church  music;  chapel- 
master  at  San  Spirito,  Ferrara,  1610- 
17;  deputy  at  St.  Mark's,  Venice, 
1619;  chapelmaster  Bergamo,  1628; 
d.  about  1637. 

Grandioso.     /*.    Grandly. 

Grand  Jeu.  Fr.  With  the  full 
power  of  the  instrument,  full  organ. 

Grand  Prix  de  Borne  was  estab- 
lished 1803  under  the  control  of  the 
Acadfimie  des  Beaux-Arts,  which  is  a 
branch  of  the  Institut  de  France. 
Competitions  are  held  annually  in 
June  and  the  prize  is  awarded  for  the 
best  composition,  formerly  a  cantata, 
now  generally  a  one-act  opera,  or  if  no 
worthy  composition  is  presented,  there 
is  no  award,  and  two  prizes  may  be 
awarded  the  following  year.  The 
winner  becomes  a  pensioner  of  the 
Government  for  four  years,  during 
part  of  which  time  he  resides  at 
the  Villa  Medici,  Rome,  which  has 
belonged  to  France  since  its  pur- 
chase by  Louis  XIV.  Besides  the 
awards  for  music,  there  are  prizes  for 
painting,  sculpture,  engraving,  archi- 
tecture. 

Grande  Orgue.  Fr.  Full  organ; 
great  organ. 

Grandsire.  Form  of  Change- 
ringing. 


GRAN   GUSTO 


244 


GKAUW 


Oran  Ousto.  It.  Great  taste  or 
expression. 

Graninger  (Charles  Albert) 
founded  piano  school  in  Cincinnati; 
conducted  the  Orpheus  Society;  pupil 
and  later  a  teacher  in  Cincinnati  Col- 
lege of  Music.  B.  Jan.  2,  1861,  Cin- 
cinnati;   add.  Cincinnati. 

Granjon  (Robert)  was  among  the 
first  to  substitute  round  for  square  or 
lozenge-shaped  notes  in  music  print- 
ing. His  publications  are  dated  1523 
in  Paris  and  1582  at  Rome. 

Granom  (Lewis  Christian  Aus- 
ton)  composed  12  sonatas  for  flute, 
published  1751,  six  trios  for  flute, 
1755;  English  songs  with  string 
accompaniment. 

Grappa,  /*.  Brace  connecting  the 
staves. 

Gras  (Julie  AimSe  Josephe  Dorus) 
sang  sop.  in  opera,  debut  in  Brussels, 
1825,  at  the  Paris  Opfira,  and  in  Lon- 
don to  1849;  daughter  of  the  band- 
master Steenkiste,  who  educated  her; 
later  a  pupil  of  the  Paris  Conserva- 
toire. B.  Valenciennes,  Sept.  7,  1805; 
d.  Feb.  6,  1896,  Paris. 

Grasset  (Jean  Jacques)  composed 
three  violin  concertos,  sonata  for  vio- 
lin and  piano,  five  books  of  violin 
duos;  played  violin  Italian  Opera, 
Paris,  and  taught  in  the  Conserva- 
toire.    B.  1769,  Paris;    d.  1839. 

Grasshopper.  Escape  jack  in 
pianos. 

Grassi  (Cecilia)  sang  sop.  in  Lon- 
don opera,  1766-72;  m.  John  Christian 
Bach.  B.  Italy,  1746;  retired  to  Italy 
on  her  husband's  death,  1782. 

Grasslneati  (James)  translated 
Brossard's  "  Dictionnaire  de  Musique  " 
into  English,  1740,  while  secretary  to 
Dr.  Pepusch.  B.  1715,  London;  d. 
1769. 

Grassinl  (Josephina)  sang  con.  in 
opera,  debut  in  Milan,  1794;  accom- 
panied Napoleon  to  Paris  after  Ma- 
rengo and  took  part  in  the  national 
fStes  and  in  the  opera;  engaged  for 
London  at  $15,000  per  season,  1804, 
where  she  became  a  prime  favourite; 
last  appearances  at  Milan,  1817.  B. 
1773,  Verese,  Lombardy;  d.  Jan.  3, 
1850,  Milan. 

Grau    (KCaiirice)    was    the    first 


American  manager  to  make  a  profit 
on  performances  of  serious  opera,  earn- 
ing a  large  fortune  as  impresario  of 
the  Metropolitan  Opera  House,  New 
York.  Brought  to  i^erica  at  the  age 
of  five  by  his  parents,  he  was  gradu- 
ated from  the  Free  Academy,  1867, 
then  spent  two  years  at  Colimxbia  Uni- 
versity Law  School.  In  1872  he  formed 
a  partnership  with  Aim6  in  the  man- 
agement of  Rubinstein,  Clara  Louise 
Kellogg,  and  other  artists;  then  be- 
gan business  as  a  manager  on  his  own 
account;  became  partner  of  Henry 
Abbey  in  that  gentleman's  unfortunate 
enterprises;  then  a  member  of  the 
firm  of  Abbey,  Shoeffer,  and  Grau, 
lessees  of  the  Metropolitan  Opera 
House,  and  on  the  dissolution  of  that 
firm  was  made  sole  lessee  and  mana- 
ger. Mr.  Grau  made  no  pretensions  to 
musical  culture  himself,  but  was  a 
shrewd  business  man,  knowing  the 
taste  of  the  New  York  public.  Owing 
to  ill  health  he  retired  in  favour  of 
Heinrieh  Conried  in  Feb.,  1903,  and 
settled  on  his  estate  at  Croisy,  France, 
where  he  died  three  years  later.  B. 
1849,  Brunn,  Austria. 

Graun  (Karl  Heinrieh)  became 
chapelmaster  to  Frederick  the  Great 
on  his  accession  to  the  Prussian 
throne,  1740,  and  in  that  capacity 
composed  "Rodelinda,"  "Merope,"  and 
in  all  28  Italian  operas  for  the  com- 
pany he  founded  in  Berlin  by  his 
master's  orders ;  composed  the  famous 
"  Tod  Jesu,"  1755,  which  has  been 
sung  in  Germany  during  Passion-week 
every  year  since  then,  a  Te  Deiun  for 
Frederick's  victory  at  Prague,  etc. 
As  a  boy  Graun  was  treble  singer  to 
the  town  council  of  Dresden.  He  was 
a  hard  student,  and  at  15  composed  a 
creditable  "  Grosse  Passions-Cantata  " 
and  other  works.  In  early  manhood 
he  sang  ten.  at  the  Dresden  opera,  for 
which  he  composed  "  Pollidoro,"  1726, 
and  four  other  operas.  In  1835  he  be- 
came the  guest  of  Crown  Prince  Fred- 
erick at  Rheinsberg,  for  whom  he  com- 
posed 50  Italian  cantatas,  as  well  as 
"  Trauermusik "  for  the  Duke  of 
Brunswick  and  King  Frederick  Wil- 
liam I  of  Prussia;  remaining  con- 
stantly with  Frederick  through  life. 


GRATTPNEK 


B.  May  7,  1701,  Wahrenbruek;  d.  Aug. 
8,  1759,  Berlin.  Johann  Gottlieb 
composed  violin  sonatas,  for  harpsi- 
chord, organ,  and  flute;  conducted 
Royal  Berlin  Orchestra,  which  he 
brought  to  high  repute.  B.  1698, 
Wahrenbruek;  brother  of  HEINRICH 
KARL;  d.  Oct.  27,  1771.  August 
rriedricli  became  cantor  of  Merse- 
burg,  1727.  Eldest  brother  of  KARL 
HEINRICH;    d.  Merseburg,  177.1. 

Graupner  (Christoph)  composed 
"Dido,"  1707,  "Die  Lustige  Hoch- 
zeit,"  and  eight  other  operas  performed 
at  Hamburg  and  Darmstadt,  church 
and  chamber  music;  chapelmaster  at 
Darmstadt.  B.  Kirchberg,  Saxony, 
1687 ;    d.  May  10,  1760. 

Grave.  Slow  and  solemn  in  time; 
deep  in  pitch. 

Grave  mixture.  Organ  stop  of 
pipes  of  grave  tones. 

Gravement.  Fr.  In  slow  solemn 
style. 

Graves  (Thomas)  composed  songs, 
madrigals,  etc.,  published  London, 
1604 ;  "  lutenist  to  Sir  Henrie  Pierre- 
pont.  Knight." 

Gravicembalo.  It.  Clavicembalo 
or  HARPSICHORD. 

Gravita,  con.  /*.  With  dignity 
and  weight. 

Gray  (Alan)  composed  the  can- 
tatas "Widow  of  Zarephath,"  "Are- 
thusa,"  Leeds  Festival,  1892;  "Leg- 
Bnd  of  the  Rock  Buoy  Bell,"  Iloving- 
bam  Festival,  1893;  "Vision  of  Bel- 
ihazzar,"  Hovingham  Festival,  1896; 
'  Song  of  Redemption,"  Leeds  Festi- 
val, 1898;  Easter  ode,  Festival  Te 
Deum,  chamber  music,  and  songs ;  Dr. 
VIus.  Trinity,  Cambridge,  where  he 
Dlayed  organ  and  conducted.  B.  York, 
Eng.,  Dec.  23,  1855 ;   add.  London. 

Gray  &  Davidson  built  organs  in 
Sng.,  1774,  having  factory  in  London, 
lobert,  William,  and  John  Gray  and 
Trederic  Davidson  were  members  of  the 
irm,  which  acquired  a  second  factory 
n  Liverpool,  1876. 

Grazia,  con.  It.  Gracefully,  with 
ilegance. 

Graziani  (Francesco)  sang  bar.-  in 
ipera,  London,  1855-65.  B.  April  16, 
829,  Fermo.  liodovieo  created  Al- 
reddo  in  "Traviata."  B.  1823,  Fermo; 


245  GREEK  MUSIC 

of    FRANCESCO;    d.    1885, 


It.     Gracefully, 


brother 
Fermo. 

Graziosamente. 
elegantly. 

Grazioso.    It.    With  grace. 
Great    Octave.      The    tones    from 
C  to  B. 

Great  Organ.  That  department  of 
the  ORGAN  which  has  the  greater 
number  of  stops  and  those  of  the 
greatest  power.  Formerly,  when  there 
were  two  or  more  organs  in  cathe- 
drals, the  largest  and  most  powerful 
was  called  the  great  organ. 

Greatheed(Eev.  Samuel  Stephen- 
son) composed  10  anthems  and  other 
church  music ;  wrote  on  music ;  rector 
of  Corringham,  Essex,  Eng.,  1862.  B. 
Feb.  22,  1813,  Somersetshire. 

Greatorex  (Thomas)  played  organ 
Carlisle  Cathedral  and  Westminster 
Abbey;  conducted  Concerts  of  Ancient 
Music  in  succession  to  Bates,  1793, 
Birraingham  and  other  festivals;  har- 
monized psalms,  composed  for  orches- 
tra. B.  Oct.  5,  1758,  Derbyshire;  d. 
July  18,  1831. 

Greber  (Jakob)  composed  the  opera 
"  Gli  amori  d'Ergasto,"  which  he 
adapted  to  the  English  stage  as  "  The 
Loves  of  Ergasto,"  Haymarket,  April 
24,  1705,  on  visiting  London  with  the 
singer  Margarita  de  I'Epine. 

Grechaninov  (Alexander  Tikho- 
uovich)  composed  symphony  in  B 
minor,  Op.  6;  choruses,  songs,  cham- 
ber music ;  pupil  of  Rimsky-Korsakov. 
B.  Oct.  26,  1864,  Moscow;  add.  St. 
Petersburg. 

Greco  (Gaetano)  composed  for 
harpsichord ;  pupil  of  Scarlatti,  taught 
Durante,  Pergolesi,  and  Vinci  as  Scar- 
latti's successor  in  the  Conservatorio 
dei  Poveri,  Naples,  1717.  B.  about 
1680,  Naples. 

Greek  IVEusic  has  survived  in 
greatly  modified  form  in  Gregorian 
Chant,  since  the  old  Church  Modes 
were  based  upon  those  of  the  Greeks, 
but  otherwise  possesses  only  historical 
interest.  There  is  no  reason  to  be- 
lieve the  Greeks  possessed  a  sense  of 
harmony  in  the  modern  signification 
of  that  word,  or  of  counterpoint.  The 
lyre  originally  possessed  but  four 
strings,  and  was  therefore  incapable 


fiBEEK  MUSIC 


346 


&B.EETIITG 


accompaniment  in  the  modern  sense, 
equally  so  of  melody.  Even  the  Egyp- 
tian lyre  which  came  into  later  use 
had  but  eight  strings,  although  a 
later  fingerboard  development  of  the 
instrument  gave  it  greater  compass. 
There  were  varieties  of  flute  or 
"  auios,"  which  word  seems  to  have 
included  primitive  forms  of  both  oboe, 
clarinet,  and  flute,  but  the  instruments 
were  crude,  few  in  number,  and  were 
always  of  secondary  importance  to 
song.  The  earliest  Italian  opera  was 
an  attempt  to  present  tragedy  in  the 
Greek  form,  but  however  much  various 
musical  reformers  have  endeavoured 
to  adapt  their  ideas  to  their  concep- 
tions of  the  ancient  tragedies,  it  is  a 
debatable  question  whether  even  the 
choruses  of  Greek  tragedy  were 
chanted.  Yet  the  Greeks  could  dis- 
criminate between  the  intervals  of  a 
fourth  and  a  third  of  a  tone;  music 
played  a  highly  important  part  in  the 
religious  and  civic  ceremonies  of  the 
people ;  music  was  treated  as  a  branch 
of  higher  mathematics,  like  astronomy, 
by  Greek  philosophers,  and  was  like- 
wise supposed  to  have  a  highly  im- 
portant ethical  influence  as  well.  Thus 
there  were  three  Genera.  Diatonic  mu- 
sic was  preferred  for  the  expression  of 
virile  and  severe  matter;  the  Chro- 
matic was  plaintive  and  sweet,  and 
the  Enharmonic  stirring  and  agree- 
able. These  genera  differed  from  each 
other  in  important  details.  The  primi- 
tive scale  consisting  of  four  notes 
sounded  by  the  lyre  in  order  not  of 
ascent  but  of  descent  was  the  tetra- 
chord.  Taking  a  tetrachord  of  the 
tonic  A,  the  three  genera  may  be  indi- 
cated as  follows:  Diatonic,  a,  g,  f,  e; 
Chromatic,  a,  f  sharp,  f,  e;  Enhar- 
monic, a,  f,  e  quarter-tone  sharp,  e.  Two 
or  more  tetrachords  were  developed 
into  a  scale  of  greater  compass  by 
Conjunction,  in  which  the  highest  note 
of  the  lower  tetrachord  is  identical 
with  the  lowest  note  of  the  higher ;  or 
by  Disjunction,  which  places  an  addi- 
tional tone  between  the  lowest  of  the 
upper  tetrachord  and  the  highest  of 
the  lower;  or  by  a  combination  of 
both  processes.  These  processes,  and 
the  addition  of  a  lower  A  called  Pro- 


slambanomenos  gave  a  two  octave 
scale  which  was  in  use  in  the  3d  cen- 
tury B.  C.  Besides  the  distinction  of 
genera  there  was  that  of  Mode.  The 
Dorian,  lastian  or  Ionian,  Phrygian, 
Aeolian,  and  Lydian  were  the  prin- 
cipal modes,  and  each  had  its  Hypo 
or  Dominant  and  Hyper  or  Sub-Dom- 
inant relative,  making  15  diatonic 
scales.  The  higher  modes  were  em- 
ployed for  the  expression  of  passion 
or  grief;  while  the  lower  were  re- 
garded as  erotic.  Aristoxenus,  Aris- 
totle, Euclid,  and  Plato  Were  among 
the  most  eminent  of  Greek  theorists. 
See :  "  Modes  of  Ancient  Greek  Mu- 
sic," Monro,  Clarendon  Press,  1894; 
"  Harmonics  of  Aristoxenus,"  Macran, 
Clarendon  Press,  1902 ;  "  Aristoxene 
de  Tarente,"  Louis  Lalor,  1904. 

Greeu  (James)  edited  Psalms  pub- 
lished in  London,  1724-51;  played  or- 
gan at  Hull,  Bng. 

Green  (Samuel)  built  many  Eng-- 
lish  cathedral  organs,  learning  the 
business  with  Byfield,  Jordan,  and 
Bridge.    B.  1740;    d.  Sept.  14,  1796. 

Greene  (Harry  Plunket)  sang  bar. 
at  the  principal  English  and  American 
festivals,  and  in  concert,  debut,  1888, 
in  the  Messiah,  London.  B.  June  24, 
1865,  Old  Connaught  House,  Wicklow, 
Ireland;    add.  London. 

Greene  (Dr.  Maurice)  composed 
"  Forty  Select  Anthems,"  Te  Deum, 
Service  in  C,  the  oratorio,  "  Force  of 
Truth,"  the  pastoral  opera,  "  Phoebe," 
songs;  helped  found  The  Society  of 
Musicians;  played  organ  St.  Paul's 
Cathedral ;  composed  for  Chapel 
Royal;  sang  at  the  Academy  Of 
Ancient  Music  that  madrigal  by  Lotti 
which  Bononcini  had  represented  to 
be  his  own,  and  which  was  the  begin- 
ning of  the  Italian  composer's  down- 
fall; aided  In  founding  rival  series 
of  concerts  on  Bononcini's  expulsion 
from  the  Academy.  B.  1695,  London; 
d.  Dec.  1,  1755. 

Greensleeves.  Probably  dates 
from  the  reign  of  Henry  VIII;  is  re- 
ferred to  in  "  The  Merry  Wives  of 
Windsor,"  and  became  a  favourite  song 
with  the  Cavaliers  in  their  wars  with 
Cromwell. 

Greeting    (Thomas)   taught   Sam. 


OBEOOIB 


247 


GB^TY 


Pepys  and  his  wife  to  play  flageolet; 
wrote  an  instruction  book  for  that  in- 
strument, published  in  London,  1680. 

Gregoir  (Jacques  Ifflatliieu  Jo- 
seph) composed  a  piano  concerto,  Op. 
100,  the  opera  "  Le  Gondolier  de 
Venise,"  the  cantata  "  Faust " ;  debut 
as  a  pianist  at  eight.  B.  Jan.  18,  1817, 
Antwerp;  d.  Oct.  29,  1876,  Brussels, 
sduard.  Georges  Jacues  composed 
the  symphony  "  Les  Croisades,"  the 
oratorio  "  La  Vie,"  the  symphonic  ora- 
torio "  Marguerite  d'Autriche,"  the 
dramas  "De  Belgen,"  "La  derni6re  nuit 
du  Comte  d'Egmont,"  the  comic  operas 
"Willem  Beukels"  and  "La  Belle 
Bourbonnaise  " ;  wrote  on  music.  B. 
Nov.  7,  1822,  Turnhout;  brother  of 
J.  M.  J.;    d.  June  28,  1890,  Antwerp. 

Gregorianisch.er  Gesang.  Qer. 
Gregorian  song. 

C&egorian  Music  is  the  name  of 
the  vast  collection  of  church  music 
which  was  edited  and  revised  under 
the  personal  supervision  of  Pope  Greg- 
ory the  Great  and  remains  to-day  the 
official  liturgical  music  of  the  Roman 
Catholic  Church  throughout  the  world. 
The  present  Pope  and  his  illustrious 
predecessor  Leo  XIII  urged  the  aban- 
donment of  the  operatic  style  of  church 
music,  use  of  which  had  grown  to 
formidable  proportions,  and  the  Medi- 
cean  edition  of  the  Gregorian  Music 
having  become  corrupt,  the  task  of 
revision  was  placed  in  the  hands  of 
the  Order  of  St.  Benedict,  which  pos- 
sessed at  its  house  in  Solesmes,  France, 
a  large  collection  of  the  chants  in  their 
earlier  and  purer  forms.  The  superior 
solemn  and  religious  beauty  of  this 
music  has  commended  itself  wherever 
it  has  been  restored.  The  collection 
of  music  for  the  MASS  comprises  more 
than  600  compositions.  The  music  for 
the  Hours  includes  some  2000  Anti- 
phons  and  800  Greater  Responds,  and 
if  less  authentic  than  the  first  collec- 
tion, closely  resembles  it  in  all  re- 
spects. Much  of  the  music  in  the 
earlier  collection  made  by  St.  Ambrose 
in  Milan  is  practically  identical  with 
that  which  bears  stamp  of  St.  Greg- 
ory's approval,  the  variations  in  mel- 
ody being  superficial. 

Gregory  the   Great  became  Pope 


590  and  devoted  much  time  to  the 
personal  revision  and  reformation  of 
music  in  the  church,  establishing  the 
great  collection  of  plain-song  which 
have  since  been  called  GREGORIAN 
MUSIC.    B.  Rome,  540;   d.  604,  Rome. 

Gregorian  Tones  are  the  eight 
groups  of  chants  in  the  eight  different 
MODES  to  which  the  psalms  are 
chanted  in  the  Gregorian  antiphonal 
system.  Their  restoration  to  the  lit- 
urgy of  the  Anglican  Church  is  a 
matter  of  current  record,  and  it  is 
worth  while  to  note  that  they  were 
almost  wholly  employed  in  the  service 
up  to  the  time  of  the  Commonwealth. 

Greiter  (Matthias)  composed  part 
songs,,  psalms,  and  hymns ;  originally 
a  monk,  joined  the  Lutherans  and 
founded  a  choir  school,  1549. 

Grell  (Eduard  August)  composed 
a  16-part  Mass  a  capella,  other  church 
music,  songs,  the  oratorio  "  Der  Israel- 
iten  in  der  Wuste."  B.  Nov.  6,  1800, 
Berlin;  d.  Aug.  10,  1886,  Steglitz, 
near  Berlin. 

Gresham  (Sir  Thomas)  founded 
not  only  the  college  bearing  his  name, 
but  a  lectureship  in  music  worth  about 
$500  per  annum,  frequently  bestowed 
until  recent  years  upon  men  having 
no  knowledge  of  music.  D.  London, 
Nov.  21,  1579. 

Gr€ty  (Andre  Ernest  Modeste) 
composed  the  operas  "Richard  Coeur 
de  Lion,"  which  contains  the  famous 
air  "O  Richard,  o  mon  roi,  I'univers 
t'abandonne,"  produced  Oct.  21,  1784, 
and  still  in  repertoire;  "Le  parlant 
tableau,"  "  Huron,"  "  Zemire  et  Azor," 
"L'Epreuve  villageoise,"  and  "L'Amant 
jaloux,"  in  all  50  dramatic  works, 
notable  for  their  wealth  of  melody. 
As  a  child  Gr6ty  was  a  chorister  in 
the  church  of  St.  Denis,  Li6ge,  but  was 
dismissed  as  incapable  at  11.  He  man- 
aged to  obtain  lessons,  however,  and 
to  hear  the  performances  of  an  Italian 
opera  company,  and  at  18  had  com- 
posed six  symphonies  and  a  solemn 
mass.  These  interested  the  Canon  du 
Harlez,  who  provided  the  young  com- 
poser with  means  to  travel  to  Rome, 
where  he  remained  seven  years  at  the 
"  College  de  Li6ge."  Casali  having 
vainly  tried  to  teach  him  counterpoint 


GBiTT 


248 


GKIEa 


and  harmony  during  this  period,  dis- 
missed him  as  incapable  of  learning, 
notwithstanding  which  he  produced  his 
operetta  "  La  Vendemmiatrioe "  at 
the  Aliberti  Theatre  with  success,  and 
also  composed  a  De  Frofundis  and 
other  church  music.  Determined  to 
devote  himself  to  French  op6ra  com- 
ique,  he  went  to  Geneva,  1767,  where 
he  tried  to  induce  Voltaire  to  write 
a  libretto.  Though  that  illustrious 
author  could  not  comply,  he  suggested 
"  Isabelle  et  Gertrude,"  which  had  been 
previously  composed  by  Blaise  to  Fa- 
vart's  book,  and  after  this  had  been 
performed,  advised  Gr6ty  to  go  to 
Paris.  Acting  upon  this  suggestion, 
Grfity  journeyed  to  the  French  capital, 
secured  the  book  for  "  Les  Mariages 
Samnites "  from  an  amateur,  and 
finally  obtained  a  performance  of  that 
opera  through  the  kindness  of  the 
Swedish  ambassador,  Counte  de  Cruez. 
This  enabled  him  to  stage  "Le  Huron" 
and  "  Lucile,"  and  thereafter  he  ranked 
as  the  most  popular  of  French  dramatic 
composers.  Mozart  and  Beethoven 
wrote  variations  on  his  songs,  the 
Prince  Bishop  of  Li6ge  made  him  privy 
councillor.  Napoleon  gave  him  a  pen- 
sion and  the  Gross  of  the  Legion  of 
Honor,  and  in  his  old  age  he  bought 
"  I'Ermitage,"  Rousseau's  house  near 
Montmorency,  and  there  wrote  his 
amusing  memoirea.  Of  his  other  works 
"  Pierre  le  Grand  "  and  "  Guillaume 
Tell"  were  the  most  ambitious,  and  the 
most  popular  were  "  La  double  epreuve, 
ou  Colinette  a,  la  Cour,"  "  La  Caravane 
du  Caire,"  1783,  to  book  by  the  Bour- 
bon prince  who  later  became  Louis 
XVIII,  "  Anacreon  chez  Polyorate," 
"  Le  Jugement  de  Midas,"  satirizing 
French  music  and  the  Academic,  "  Le 
Magnifique,"  "  La  Rosiere  de  Salency," 
"  Aucassin  et  Nicolette,"  "  Lisbeth," 
"  Le  deux  Avares."  Breitkopf  &  Hartel 
undertook  the  publication  of  Grfity's 
complete  works.  B.  Feb.  8,  1741, 
LiSge;  son  of  a  violinist;  d.  Sept.  24, 
1813,  near  Montmorency.  See  biog- 
raphies by  A.  J.  Grgty,  E.  Gregoir,  M. 
Brenet.  Iiucile  composed  the  success- 
ful opera  "  Le  Mariage  d' Antonio  "  at 
13,  which  was  orchestrated  by  her 
father,  ANDRfi  ERNEST  MODESTE, 


and  produced,  1786,  at  the  Paris  Op€ra 
Comique.  B.  1773,  Paris;  married 
unhappily;    d.  1793. 

Greunberg  (Eugene)  composed 
symphony  played  at  the  (Jewandhaus, 
Leipsic ;  wrote  "  Theory  of  Violin 
Playing";  played  violin  in  the  Ge- 
wandhaus  and  Boston  Symphony  or- 
chestra ;  taught  Boston  and  New  Eng- 
land Conservatories.  B.  Oct.  30,  1854, 
Galicia;   add.  Boston. 

Grieg  (Eduard.  Hagerup)  com- 
posed two  suites  to  Ibsen's  "  Peer 
Gynt,"  No.  1,  Op.  23,  piano  four  hands, 
afterwards  developed  for  orchestra  as 
No.  1,  Op.  46,  and  No.  2,  Op.  55,  which 
ranked  him  at  once  as  the  leading 
composer  of  Scandinavia,  and  first 
aroused  interest  in  the  play  in  many 
parts  of  the  world.  Grieg's  mother,  a 
cultivated  amateur,  gave  him  his  first 
lessons ;  he  began  to  compose  at  nine, 
and  on  the  advice  of  Ole  Bull,  was 
sent  to  the  Leipsic  Conservatory,  where 
he  was  a  pupil  of  Hauptmann  and 
Richter  in  counterpoint,  of  Rietz  and 
Reinecke  in  composition,  and  of  Wen- 
zel  and  Moscheles  for  piano  from  1858 
to  1862,  completing  his  studies  with 
Niels  Gade  in  Copenhagen.  Returning 
to  Norway  he  founded  the  musical 
union  in  Christiana,  1866,  which  he 
conducted  until  1880,  and  with  his 
friend  Nordraak  devoted  himself  to 
developing  the  national  music  of  Nor- 
way. In  1865  and  in  1870  he  visited 
Rome,  where  he  became  intimate  with 
Liszt.  In  1879  he  played  his  own 
piano  concerto,  A  minor.  Op.  16,  at  the 
Gewandhaus,  Leipsic,  to  an  enthusias- 
tic audience.-  In  1888  he  conducted  his 
"  Two  Elegiac  Melodies  "  for  strings  at 
the  London  Philharmonic,  and  gave  a 
joint  recital  of  his  compositions  with 
his  wife,  who  was  an  excellent  singer. 
In  1894,  while  again  visiting  England, 
he  received  the  degree  Dr.  Mus.  at  Cam- 
bridge, but  the  greater  part  of  his  life 
was  spent  at  his  country  home  near 
Bergen,  Norway.  His  larger  composi- 
tions include,  besides  those  already 
named,  the  concert  overture  "  Im 
Herbst,"  sonata  for  violin  and  piano, 
in  G,  Op.  13,  "Two  Symphonische 
Stilcke,"  piano  four  hands.  Op.  14; 
sonata  for  piano  and  'cello,  Op.  36; 


GBIESBACH 


249 


GBOVE 


sonata  for  piano  and  violin,  C  minor, 
Op.  45 ;  scenes  from  Bjornson's  "  Olav 
Trygvason,"  solo,  chorus,  and  orches- 
tra. Op.  50;  "  Sigurd  Jorsalfar,"  for 
orchestra,  Op.  56;  symphonic  dances 
for  piano,  four  hands  and  strings.  Op. 
64;  a  Fimeral  Hymn  in  memory  of  his 
father,  for  four  voices,  the  song  cycle 
"Haugtussa,"  Op.  67.  His  preference 
as  a  composer  was  for  songs,  of  which 
he  left  nearly  150,  and  short  piano 
pieces,  which,  while  wholly  original, 
are  often  mistaken  for  elaborations  of 
folk  songs.  B.  June  15,  1843,  Bergen, 
Norway;   d.  Sept.  4,  1907. 

Griesbach  (John  Henry)  com- 
posed the  oratorio  "  Belshazzar,"  after- 
wards performed,  1854,  as  "  Daniel," 
the  dramatic  works  "James  the  First," 
"The  Goldsmith  of  West  Cheap," 
"  Eblis,"  cantatas,  songs ;  wrote  "  An 
Analysis  of  Musical  Sounds  ";  director 
Philharmonic  Society,  14  terms ;  played 
'cello;  pupil  of  his  father,  'cellist  to 
Queen  Charlotte,  and  of  his  uncle  G. 
L.  J.  Griesbach.  B.  June  20,  1798, 
Windsor;    d.  Jan.  9,  1875,  London. 

Griesinger  (Georg  August)  wrote 
biographical  notice  of  Haydn,  whom  he 
knew  intimately,  Breitkopf  &  Hartel, 
1810.    D.  April  27,  1828,  Leipsic. 

Griffbrett.  Ger.  Fingerboard  of 
keyed  instruments. 

GrifSn  (George  Eugene)  helped 
found  London  Philharmonic  Society; 
composed  three  string  quartets  and 
piano  music,  including  a  concerto  in 
which  he  made  his  debut,  London, 
1797.  B.  Jan.  8,  1781,  London;  d, 
April  14,  1817. 

Griffin  (Thomas)  built  organs  in 
London;  one  of  the  numerous  pro- 
fessors on  the  Gresham  foundation 
who  couldn't  lecture.    D.  1771. 

Griffith  (Frederick)  taught  flute. 
Royal  Academy  of  Music,  London, 
having  toured  the  world  with  Melba 
and  played  in  Covent  Garden  Orches- 
tra. B.  Nov.  12,  1867,  Swansea;  add. 
London. 

Grimaldi  was  the  name  of  a  cele- 
brated sopranist  better  known  as 
NICOLINI. 

Grimm  (Otto)  composed  a  suite 
for  orchestra  in  canon  form,  symphony 
in  D  minor,  songs;  played  piano;  con- 


ducted.   B.  Pernau,  Livonia,  Mar.  6, 
1827;    d.  Dec.  7,  1903,  Mtinster. 

Grisar  (Albert)  composed  "Sarah," 
Paris  Opera  Comique,  1836;  "Gilles 
Eavisseur,"  1848 ;  "  Les  Porcherons," 
1850;  "Bon  Soir,  M.  Pantalon,"  1851, 
in  all  more  than  30  operas,  of  which 
19  were  produced.  B.  Dee.  26,  1808, 
Antwerp;    d.  June  15,  1869,  AsniSres. 

Grisi  (Giulia)  sang  sop.  in  opera; 
debut,  Italian  opera,  Paris,  1832,  hav- 
ing already  won  the  admiration  of 
Bellini  and  Rossini  in  Milan;  toured 
America  with  Mario,  1854.  B.  July 
28,  1811,  Milan;  m.  Count  de  Melcy, 
1836;  divorced,  and  m.  Mario;  d. 
Nov.  29,  1869.  Giudetta  sang  mez. 
sop.  in  opera;  sister  of  GIULIA  and 
her  first  teacher.  B.  July  28,  1805, 
Milan;  m.  Count  Barni,  1834;  d. 
May  1,  1840.  Carlotta  became  the 
most  famous  ballerina  of  the  same 
period,  although  educated  originally 
as  a  singer.  She  was  a  cousin  of  the 
singers  above  mentioned. 

Groppo.    /*.    Group  of  notes. 

Gros  Fa.  Obsolete  square  NOTA- 
TION. 

Grosse.  Ger.  Major,  as  to  inter- 
vals ;   great  or  grand. 

Grosse  Caisse.    Fr.    Bass  DRUM. 

Grosse  Trommel.  Ger.  Bass 
DRUM. 

Grosso.    It.    Great,  grand,  full. 

Gros  Tambour.    Fr.    Big  DRUM. 

Grossvater  Tanz.  17th  century 
Gterman  dance,  literally  "Grand- 
father's Dance,"  used  at  weddings,  em- 
ployed by  Schumann  in  two  composi- 
tions, the  "Carneval"  and  "Papillons." 

Ground  Bass.  Old  form  of  discant 
in  which  a  theme  in  the  bass,  usually 
short,  is  constantly  repeated  with 
overlaid  melody  or  harmony.  Ground 
basses  were  often  employed  as  themes 
for  "  extemporising."  A  chaconne  by 
Handel  gives  62  variations  on  a  groimd 
bass,  and  a  modem  example  will  be 
found  in  Brahms'  orchestral  Varia- 
tions on  a  Theme  by  Haydn. 

Group.  Series  of  small  notes  sung 
to  one  syllable;  division;  section  of 
instruments  in  the  orchestra;  ar- 
rangement of  parts  in  a  score. 

Grove  (Dr.  Sir  George)  wrote 
"Beethoven   and   his   Nine   Sympho- 


OKUA 


250 


GXTDEHUS 


nies";  edited  "Grove's  Dictionary 
of  Music"  and  Macmillan's  Maga- 
zine; helped  organize,  and  was  first 
director  of  the  Royal  College  of  Music, 
London,  1883,  for  which  he  was 
knighted;  in  early  life  a  civil  engi- 
neer, but  a  devoted  amateur  of  music; 
secretary  of  the  Society  of  Arts  and 
a  director  of  the  Crystal  Palace.  B. 
Clapham,  Bng.,  Aug.  13,  1820;  d. 
May  28, 1900.  See  "Life  of  Sir  George 
Grove,"  C.  L.  Graves,  Macmillan, 
1904. 

Grua  (Carl  Luigi  Pietro)  com- 
posed the  operas  "  Telegono "  and 
"  Camillo  " ;  court  musician  at  Dres- 
den, 1691;  vice  chapelmaster,  1697. 
Paul  composed  the  opera  "  Tele- 
macco,"  Munich,  1780,  a  Miserere,  and 
other  church  music.  B.  Feb.  2,  1754; 
son  of  C.  L.  P.;    d.  July  5,  1833. 

Grund  (Friedrich  Wilhelm) 
helped  found  the  Hamburg  Singakade- 
mie;  composed  the  operas  "Mathilde" 
and  "  Die  Burg  Falkenstein,"  sympho- 
nies, a  mass,  cantatas,  and  chamber 
music.  B.  Oct.  7,  1791,  Hamburg;  d. 
Nov.  24,  1874. 

Grundstixame.     Ger.    Bass  part. 

Grundton.  Oer.  Bass  note;  fun- 
damental bass. 

Grupetto.  /*.  Group  of  notes; 
division;    turn;    trill. 

Griitzmacher  (Friedrich.  Wilhelm 
Ludwig)  composed  'cello  concertos 
and  songs;  played  first  'cello  at  the 
Gewandhaus  and  taught  in  Leipsic 
Conservatory.  B.  Mar.  1,  1832,  Des- 
sau; d.  Dresden,  Feb.  23,  1903.  Leo- 
pold played  'cello  Meiningen  Court 
Orchestra;  pupil  of  his  brother 
F.  W.  L.  B.  Sept.  4,  1834;  d.  Feb. 
26,   1900. 

G-Schliissel.     Treble  or  G  clef. 

G  String.  The  fourth  on  the  vio- 
lin ;  third  on  viola,  'cello,  and  guitar ; 
first  on  doublebass. 

Guadagni  (Gaetano)  sang  con. 
in  "  The  Messiah  "  and  "  Samson " 
under  Handel;  developed  into  sopran- 
ist,  and  became  a  highly  popular  singer 
in  Paris,  creating  "  Telemacco "  for 
Gluck,  singing  at  Vienna  and  Berlin 
operas.    B.  1725,  Lodi;    d.  1797. 

Guadagnini  (Johann  Baptist) 
made  violins  in  Cremona  style  which 


are  dated  Milan,  Piaoenza,  and  Turin, 
1690-1740;  pupil  of  Stradivarius. 
Xorenzo  made  violins  of  equally  fine 
quality  but  departing  from  the  Strad. 
model;  worked  with  JOHN  BAPTIST. 
John  Baptist  II  made  violins  of  Strad. 
model  dated  chiefly  from  Piacenza, 
having  a  high  coloured  varnish.  Prob- 
ably son  of  LORENZO.  Joseph  made 
violins  dated  generally  Milan,  1740- 
60.  Probably  brother  of  JOHN  BAP- 
TIST II.  Succeeding  generations  of 
this  family  have  continued  to  make 
violins,  but  without  attaining  the  ex- 
cellence of  those  named. 

Guaracha.  Spanish  dance  in  lively 
3-4  time. 

Guarducci  (Tommasso  Toscano) 
sang  in  English  oratorios  and  opera, 
1766-71,  with  Grassi,  having  previ- 
ously established  his  reputation  in 
Italy.     B.  1720,  Montefiascone. 

Guamerius  (Andreas)  made  ex- 
cellent violins,  dated  Cremona  at  the 
sign  of  St.  Theresa;  pupil  with  Stradi- 
varius of  Nicolo  '  Amati.  ■  B.  about 
1626;  d.  1698.  Pietro  Giovanni 
made  violins  in  Mantua  but  describes 
himself  in  his  labels  as  "  from  Cre- 
mona." B.  1655;  instruments  bear 
dates  1690-1725.  Joseph  made  vio- 
lins first  on  his  father's  model,  but 
later  developing  an  individual  style; 
called  himself  "Filius  Andreae"  to 
distinguish  himself  from  a  cousin.  B. 
1666;  instruments  dated  1690-1730; 
d.  about  1739.  Peter  of  Venice  made 
violins  superior  to  those  of  his  uncle 
PIETRO  GIOVANNI  and  on  the  same 
model.  B.  1695;  instruments  are 
dated  1730-55.  Joseph  del  Gesu  be- 
came the  most  famous  instriunent 
maker  of  his  family,  making  violins 
more  remarkable  for  power  and  fine 
tone  than  beauty,  one  of  which  was  a 
favourite  with  Paganini.  He  was  a 
nephew  of  JOSEPH  FILIUS  AN- 
DREAE and  therefore  a  grandson  of 
ANDREAS,  although  his  father,  Giam- 
Battista,was  not  an  instrument  maker. 
The  name  del  Gesu  came  from  the 
I.  H.  S.  which  he  added  to  his  label. 
B.  1687;  d.  1745. 

Guddok.     Russian  fiddle. 

Gudehus  (Heinrich)  sang  ten.  in 
Wagnerian  operas  Bayreuth,  London, 


GTjfDBOH 


251 


GXTILLAUME   TEI^L 


New  York,  Berlin;  originally  a  school- 
master. B.  Altenhagen,  Eanover,  Mar. 
30,  1845;    add.  Berlin. 

Guedron  (Pierre)  compoaed  songs 
and  ballets  for  Henri  IV  of  France; 
became  surintendant  de  la  musique 
to  Louis  XIII.    B.  about  1565. 

Guerero  (Erancisco)  composed 
"  Sacrae  Cantiones,"  1555,  masses,  and 
Passion  according  to  St.  Matthew; 
chapelmaster  'at  Seville  Cathedral; 
made  pilgrimage  to  Palestine  at  60; 
pupil  of  Morales.  B.  1528,  Seville; 
d.  1599. 

Guerriero.     It.     Warlike. 

Guest  (Ralph)  composed  psalms, 
hymns,  songs;  played  organ.  B. 
Shropshire,  1742;  d.  1830,  Bury  St. 
Edmunds,  Eng.  George  composed  an- 
thems, hymns,  glees,  organ  pieces, 
songs;  played  organ;  as  a  boy,  sang 
in  Eng.  Chapel  Royal.  B.  1771,  Bury 
St.  Edmunds;  son  of  RALPH;  d. 
Sept.  10,  1831,  Wisbech. 

Guet.     Fr.     Trumpet  flourish. 

Gugliehni  (Fietro)  composed  the 
operas  "  I  due  Gemelli,"  1789;  many 
other  forgotten  operas,  dividing  the 
favour  of  the  Italian  public  with  Cima- 
roaa  and  Paiaiello ;  said  to  have  aban- 
doned his  wife  in  London;  became 
chapehnaater  at  the  Vatican,  1793,  and 
thereafter  devoted  himself  to  compo- 
sition of  church  music.  B.  about 
1727;  d.  Rome,  Nov.  19,  1804. 

Guida.     It.     Guide  or  direct. 

Guide-3Eain.  Fr.  Mechanical  ap- 
pliance to  regulate  the  position  of  the 
wrist  in  piano  playing,  invented  by 
Kalkbrenner. 

Guidetti  (Giovanni)  aided  Pales- 
trina  in  the  revision  and  purification 
of  Gregorian  music  ordered  by  Pope 
Gregory  XIII,  1576-81 ;  pupil  of  Pal- 
estrina;  priest  and  conductor.  B. 
1532,  Bologna;  d.  Nov.  30,  1592, 
Rome. 

Guide  d'Arezzo  devised  the  prin- 
ciple upon  which  the  stave  is  con- 
structed, invented  the  F  and  C  clefs, 
Solmisation,  and  the  "Harmonic 
Hand"  (by  which  tones  were  indi- 
cated on  the  joints  of  the  left  hand), 
and  did  much  to  reform  and  syste- 
matize music.  By  Kiroher  he  was 
likewise  accredited  with  the  invention 


of  the  Gamut,  the  Hexachords;  Dis- 
cant,  Organum,  and  Counterpoint;  the 
Monochord,  the  Spinet,  and  the  mod- 
ern Five  Line  Stave.  According  to 
Dom  Germain  Morin,  he  was  at  first 
a  simple  Benedictine  monk  in  the 
monastery  of  St.  Maur  des  Fosses. 
His  talent  for  music  was  so  pro- 
nounced that  he  was  called  to  Rome 
by  Pope  Benedict  VIII  in  1022 
(Baronius),  treated  with  great  con- 
sideration, and  recalled  two  years 
later  by  Pope  John  XIX,  to  whom  he 
taught  his  new  system  of  notation. 
Leaving  Rome  with  a  promise  to  re- " 
turn,  he  settled  at  the  Monastery  of 
Pomposa  in  Ferrara,  where  he  wrote 
his  "  Micrologus,"  a  treatise  reprinted 
1904  with  critical  notes  by  Dom  A. 
Arnelli,  O.S.B.,  Monte  Cassino,  and 
other  books.  Finally  he  became  Abbot 
of  Santa  Croce,  Avellano,  near  Arezzo. 
B.  about  990;  called  also  Guido  Are- 
tinus,  Fra  Guittone,  Guy  of  Arezzo; 
d.  1050,  Santa  Croce. 

Guidonian  Syllables.  Aretinian 
syllables  in  UT  QUEANT  LAXIS. 

Guignon  (Jean  Pierre)  composed 
violin  concertos,  sonatas,  duos;  played 
violin  in  the  service  of  the  French 
court,  1733-73 ;  was  the  last  musician 
to  hold  the  title  "  Roi  des  violons," 
and  to  attempt  to  enforce  the  regula- 
tion of  the  CONFRERIE  of  the  min- 
strels. B.  Feb.  10,  1702,  Turin;  d. 
Jan.  30,   1774,  Versailles. 

Guildhall  School  of  Music  was 
established  1880  by  the  City  of  Lon- 
don to  teach  music  in  all  branches. 
Weist-Hill  was  the  first  principal. 
Sir  Joseph  Bamaby  succeeded  him, 
1892,  and  on  his  death  in  1896,  Dr. 
W.  H.  Cummings  took  office.  The 
institution  grew  rapidly,  received  the 
support  of  many  distinguished  musi- 
cians, and  in  1905  had  reached  an  en- 
rolment of  nearly  3000  students. 

Guillaume  Tell.  Gioacchino  Ros- 
sini's four-act  opera,  to  book  by  Bis 
and  Jouy,  founded  on  Schiller's  play, 
was  fiist  performed  Aug.  3,  1829. 
Leutold,  the  herdsman,  kills  one  of 
Gessler's  followers  while  defending  his 
daughter,  and  seeks  the  protection  of 
Tell,  who  places  him  in  safety.  Melch- 
tal  is  accused  by  Geasler  of  having 


OtriLISANT 


253 


GTJITAB 


incited  rebellion,  and  is  executed.  Ar- 
nold, Melchtal's  son,  loves  Mathilde, 
daughter  of  Gessler,  but  casts  his  lot 
with  the  deputies  of  the  three  cantons, 
who  determine  to  free  Switzerland 
under  Tell's  leadership.  The  third  act 
opens  with  a  love  scene  between  Ma- 
thilde and  Arnold.  Then  Gessler's  hat 
is  set  upon  a  pole,  and  the  Swiss  are 
commanded  to  do  reverence  to  this 
emblem  of  authority.  Tell  and  his 
son  refuse,  are  arrested,  and'  Tell  is 
ordered  to  shoot  an  apple  from  his 
son's  head.  This  he  does,  but  Gess- 
ler has  noted  a  second  arrow,  and 
Tell  manfully  tells  him  that  arrow 
was  meant  for  his  destruction  had  he 
slain  his  son.  The  tyrant  thereupon 
orders  Tell's  arrest,  and  he  is  led 
away  in  fetters,  despite  Mathilde's 
plea  for  mercy.  Mathilde  then  joins 
the  patriots.  Their  battles  are  suc- 
cessful, and  finally  Tell,  who  has  es- 
caped from  prison  and  slain  Gessler, 
appears,  and  the  opera  closes  with  a 
hymn  to  freedom.  The  principal  mu- 
sical numbers  are:  Act  I:  "II  ciel 
sereno,"  Alpine  chorus;  "Cinto  il 
crine,"  chorus  and  dance;  Act  II: 
"  Qual  silvestre  metro  intorne,"  chorus 
of  huntsmen  and  shepherds;  "  Selva 
opaco,"  Mathilde ;  "  La  gloria  in- 
flammi,"  Tell  and  Walther;  Act  III: 
"0  muto  asil,"  Arnold;  "I  boschi,  i 
monti,"  the  hymn  to  freedom.  As  now 
performed,  the  opera  consists  of  three 
acts,  the  third  having  been  eliminated, 
the  fourth  and  fifth  condensed.  The 
original  caste  was:  Mathilde,  Damo- 
reau-Cinti,  sop.;  Hedwig,  Mori,  mez. 
sop. ;  Jemmy,  Tell's  son,  Dabodie,  sop. ; 
Gessler,  Prevost,  bass ;  Rudolph ,  Massol, 
ten.;  Tell,  Dabodie,  bar.;  Walther, 
Levasseur,  bass;  Melchtal,  Dupont, 
bass ;  Arnold,  Nourrit,  bar. ;  Leuthold, 
Prevot,  bar. ;  Fisherman,  ten. 

Guilmant  (Felix  Alexandre)  be- 
came organist  of  Trinity  church, 
Paris,  1871,  and  ranked  in  1908  as  the 
dean  of  French  organists  and  one  of 
the  greatest  living  performers  on  that 
instrument.  Guilmant's  father  was  an 
organist,  and  his  first  teacher.  At  16 
he  became  organist  of  St.  Joseph's, 
Boulogne,  and  later  chapelmaster  at 
the  Church  of  St.  Nicholas.    In  1860 


he  received  lessons  from  Lenunena,  and 
since  then  he  has  been  one  of  the 
world's  most  useful  teachers.  He  com- 
posed a  symphony  for  organ  with  or- 
chestra, seven  organ  sonatas,  con- 
certos, and  hymns,  "  Belsazar,"  a 
scene  lyrique  for  soli,  chorus,  and  or- 
chestra, the  hynm  "  Christi  Vincit." 
In  1893  he  received  the  Legion  of 
Honor,  in  1896  became  professor  at 
the  Conservatoire;  nmde  successful 
concert  tours  of  Europe  in  1897-98 
and  1904-5;  retired  from  hia  post  at 
Trinite,  1901.  B.  Mar.  12,  1837, 
Boulogne;  add.  Paris. 
_  Guimbarde.    Fr.    JEW'S  HARP. 

Guiraud  (Ernest)  composed  "Eoi 
David,"  an  opera  produced  at  New 
Orleans  when  he  was  but  15,  "  Frede- 
gonde,"  completed  by  Saint-Saena 
after  his  death,  and  produced  Dec.  18, 
1895,  at  the  Paris  Grand  Op6ra;  won 
the  prix  de  Rome,  Paris  Conservatoire, 
1859,  with  hia  "  Bajazet  et  le  jouer  de 
flute  " ;  the  one-act  opera  "  Sylvie  " 
while  in  Rome,  "En  Prison,"  "Le 
Kobold,"  "Madame  Turlupin,"  "Pic- 
colino,"  the  ballet  "Gretna  Green"; 
fought  with  French  in  Franco-Prus- 
sian war;  taught  composition  at  the 
Conservatoire,  1876;  Chevalier  of  the 
Legion  of  Honor.  B.  June  23,  1837, 
New  Orleans;    d.  May  6,  1892,  Paris. 

Guitar  is  the  only  modern  repre- 
sentative of  the  numerous  instruments 
of  the  lute,  cither,  or  ghittem  families, 
with  the  exception  of  the  MANDOLIN. 
The  resonance  box  has  a  fiat  back, 
although  the  sides  are  curved  some- 
what like  those  of  viols.  There  is  a 
fretted  keyboard,  and  there  are  six 
strings,  three  of  gut  and  three  of  wire, 
attuned  as  follows:  E,  A,  d,  g,  b,  e, 
and  sometimes  E,  B,  e,  g,  b,  e.  The 
compass  is  E  to  a",  and  the  music  is 
written  an  octave  higher  than  its 
sounds.  Instruments  of  this  class  are 
doubtless  of  oriental  origin.  The  ob- 
solete English  guitar  was  a  wire-strung 
instrument  replaced  by  the  Spanish 
guitar,  described  above.  Both  Berlioz 
and  Paganini  were  guitarists,  but  the 
instrument  has  of  late  years  been 
superseded  for  dance  music  and  ac- 
companiments in  Engliah-speaking 
countries  by  the  piano. 


GxriiLi 


253 


BABENECK 


OulU  (Luigi)  played  piano  and 
taught  in  Rome;  founded  the  "Societa 
del  quintette  Gulli"  for  chamber 
music;  pupil  of  Cesi,  Koyal  College 
of  Music,  Naples.  B.  Calabria,  June 
17,  1,859;    add.  Roine. 

Oumpeltzliaiiuer  (Adam)  com- 
posed church  music;  cantor  at  St. 
Anna,  Augsberg,  1581-1621.  B.  Trost- 
berg,  Bavaria,  1560;  d.  1625,  Augsberg. 

Gung'l  (Tosepli)  composed  300 
dances  and  marches;  bandmaster  in 
Austrian  army;  made  concert  tours  of 
Europe  and  America;  became  chapel- 
master  to  the  Emperor  of  Austria.  B. 
Dec.  1,  1810,  Zsambek,  Hungary;  d. 
Jan.  31,  1889,  Weimar.  Virginia 
sang  in  opera;  debut,  Berlin,  1871; 
daughter  of  JOSEPH.  Tohami  com- 
posed dance  music;  made  concert 
tours  of  Europe.  B.  Zsa.mbgk,  Mar. 
5,  1828;  d.  Nov.  27,  1883,  Punf- 
kirchen,  Hungary. 
-  Ounn  (Barnabas)  composed  so- 
natas for  harpsichord,  "  Two  Canta- 
tas and  Six  Songs,"  1736,  and  church 
music;  played  organ  Gloucester  Ca- 
thedral. B.  about  1680,  Gloucester; 
d.  about  1743.  Bamaby  played  organ 
Chelsea  Hospital,  London,  1730-53. 
Probably  related  to  BARNABAS. 

Gunn  (John)  taught  flute  and 
'cello;  wrote  on  music.  B.  1765,  Edin- 
burgh; d.  1824,  London.  Anne 
Young  played  piano ;  wrote  "  An 
Introduction-  to  Music,"  illustrated  by 
games,  Edinburgh,  1803.  Wife  of 
JOHN. 

Guntram.  Richard  Strauss's  three- 
act  opera  was  first  performed  May  10, 
1894,  at  Weimar. 

Gora  (Eugen)  sang  "  Donner  "  and 
"  Gunther  "  at  the  performance  of  the 
cycle  "Der  Ring  des  Nibelungen," 
Bayreuth,  1876;  debut,  1865,  Munich; 
retired,  1895.  B.  Nov.  8,  1842,  Pres- 
sem,  Bohemia;  add.  Munich.  Her- 
mann sang  bar.  in  opera.  Son  of 
EUGEN. 

Gurlitt  (Cornelius)  composed  the 
opera  "  Sheik  Hassan,"  operettas, 
piano  studies;  organist  at  Altona 
and  Royal  Music  Director.  B.  Feb. 
10,  1820,  Altona;  d.  June  17,  1901, 
Altona. 

Ousikow  (Uicbael  Joseph)  played 


xylophone  so  well  as  to  win  the  ad- 
miration of  Fetis  and  Mendelssohn. 
B.  Sept.  2,  1806,  Sklow,  Poland;  d. 
Oct.  21,  1837,  Aix-la-Chapelle. 

Gustave  III.  Auber's  opera  on  the 
theme  of  BALLO  IN  MASCHERA. 

Gusto,  con.  It.  With  taste  and 
expression. 

Gustoso.  It.  With  taste  and  ex- 
pression. 

Gutmann  (Adolpb)  composed  ten 
"  Etudes  caracteristiques  " ;  pianist 
and  friepd  of  Chopin.  B.  Jan.  12, 
1819,  Heidelberg;    d.  Oct.  27,  1882. 

Guttural.      Throaty. 

Guzla.  Primitive  rebec  played  in 
the  Balkan  states. 

Gwendoline.  Alexis  Emmanuel 
Chabrier's  three-act  opera,  to  book  by 
Catulle  Mend6s,  was  first  performed 
April  10,  1886,  at  Brussels. 

Gymnase  de  Husique  Militaire 
was  founded  in  Paris,  1836,  to  edu- 
cate musicians  for  the  military  bands, 
but  was  abolished,  1856,  when  its 
functions  devolved  upon  the  Conser- 
vatoire. Berr  and  Carafa  were  the 
directors. 

Gyrowetz  (Adalbert)  composed 
"  Agnes  Sorel,"  "  Robert,  oder  die  Prii- 
fung,"  and  in  all  30  operas,  19  masses, 
60  symphonies,  60  string  quartets,  40 
piano  sonatas,  ballets ;  wrote  an  auto- 
biography, Vienna,  1847.  B.  Budweis, 
Bohemia,  Feb.  19,  1763;  d.  Mar.  19, 
1850,  Vienna.- 


H  is  the  German  name  of  the  note 
B  natural,  B  in  German  always  mean- 
ing B  flat. 

Haas  (Alma)  played  violin;  taught 
at  Royal  Academy  of  Music,  London, 
King's  College,  London.  B.  Ratibor, 
Silesia,  Jan.  31,  1847;  daughter  of 
the  schoolmaster  HoUaender;  m.  Dr. 
Ernst  Haas,  1772,  London;  add. 
London. 

Habanera.  Popular  Cuban  dance 
in  2-4  time,  said  to  have  been  brought 
from  Africa  by  negro  slaves.  A  fine 
example  occurs  in  CARMEN. 

Habeneck  (Frangois  Antoine) 
composed  the  ballet  "  Le  page  incon- 
stant," 1823,  violin  concertos;  taught 
in  Paris  Conservatoir?;    founded  the 


HABEBBIEB                   254  HAIL  COLUMBIA 

Concerts  of  the  Conservatoire,  where  Sept.  24,  1892,  at  the  Savoy  Theatre, 

he  first  introduced  Beethoven's  sym-  London. 

phonies    to    France,     1828-48;     con-  Hadley  (Henry  K.)  composed  the 

ducted   Louis   Philippe's   concerts   at  symphonies   "  Youth   and   Life "   and 

the  Tuileries;    Chevalier  of  the   Le-  "The  Seasons,"  two  comic  operas,  a 

gion   of   Honor.     B.    Jan.    23,    1781,  suite,   a  cantata;    directed  music  at 

Mgzigres;    d.  Feb.  8,  1849,  Paris.  St.  Paul's  School,  Garden  City,  L.  I., 

Haberbier    (Ernst)     composed  1896;   pupil  of  Chadwick,  Heindl,  and 

"Etudes    poesies"    and    other    piano  Allen,   Boston.     B.    1871,   Somerville, 

music;    court  pianist  at  St.   Peters-  Mass.;    add.  Boston, 

burg;   toured  Europe  with  success.    B.  Hadow    (William    Henry)    com- 

K6nigsberg,  Oct.  5,  1813;    d.  Mar.  12,  posed  the   cantata   "The   Soul's  Pil- 

1869,  Bergen,  Norway.            ,  grimage,"  the  hymn  "Who  are  these?" 

Haberle  (Franz  Xavier)  founded  for  soli,  chorus,  strings,  and  orehes- 
the  Palestrina  Society  which  published  tra ;  songs,  chamber  music ;  wrote 
32  vols,  of  that  master's  works,  1894;  "Studies  in  Modern  Music";  lec- 
f ounded  School  of  Ecclesiastical  Music,  tured  at  Oxford ;  edited  "  The  Oxford 
Ratisbon,  1874;  edited  thematic  cata-  History  of  Music."  B.  Dec.  27,  1859, 
logue  of  the  archives  of  the  Sistine  Ebrington,  Gloucestershire;  stdd.  Ox- 
Chapel,    1888;     became   President   of  ford,  Eng. 

the  Caecilien-verein  of  Austria,  Ger-  Haeser  (August  Ferdinand)  corn- 
many,  and  Switzerland,  1899 ;  in  early  posed  the  oratorio  "  Der  Glaube,"  per- 
life  chapelmaster  at  Passau  Cathedral  formed  as  , "  The  Triumph  of  Faith," 
and  music  director  in  the  seminaries;  at  the  Birmingham  Festival,  1817; 
then  organist  and  director  of  the  the  opera  "  Die  Mohren " ;  wrote  on 
Church  of  S.  Maria  dell' Anima,  Rome,  singing;  director  and  teacher  to  the 
1867-70,  choirmaster  and  inspector  of  ducal  family  at  Weimar.  B.  Oct.  15, 
the  Dompraebends  at  Ratisbon,  1871-  1779,  Leipsic;  d.  Nov.  1,  1844, 
82;     honorary    canon    of    Palestrina  Weimar. 

Cathedral,;    Dr.  of  Theology,  Univer-  Haessler  (Tohann  Wilbelni)  com- 

sity  of  Wurzberg,  1889.    B.  April  12,  posed   a   grand    gigue    for   piano,   D 

1840,   Ober   Ellenbach,   Bavaria;     or-  minor,    Op.    31,    much    piano    music, 

dained    priest,    1862,    Passau;    add.  songs.     B.  Erfurt,  Mar.  29,  1747;    d. 

Ratisbon.  Mar.  29,  1822,  Moscow. 

Hackebrett.     Oer.    DULCIMER.  Hague    (Dr.    Cbarles)    composed 

Hadan.    The  call  to  prayer  chanted  odes,     songs,     canons ;     professor    of 

from    the    minarets    by    Mahometan  music  at  Cambridge,   1799.     B.  May 

priests.  4,  1769,  Tadcaster,  Eng.;    d.  Jxme  18, 

Haddock    (Thomas)    played    first  1821,  Cambridge.     Harriet  composed 

'cello  in  Liverpool  Philharmonic  So-  a  collection  of  "  Six  Songs  "  1814.    B. 

ciety.     B.   1812,  Leeds;    d.   Sept.  22,  1793;     daughter   of   DrT   CHARLES; 

1893,  Liverpool.     George  played  vio-  d.  1816. 

lin.     B.   July  24,    1824;    bi'other   of  Hahn    (Beynaldo)    composed   the 

THOMAS;    taught  in  Leeds.     Edgar  opera   "L'lle   de   rgve,"    1898;     "La 

A.    founded  Leeds   College  of  Music,  Carmelite,"  Dec.  16,  1902,  Paris  Op6ra 

aided  in  establishing  Leeds  orchestra,  Comique;    music  for  "Ester,"   1905; 

1898,  played  violin.    B.  Nov.  23,  1859j  the  symphonic  poem  "Nuit  d' Amour 

Leeds ;    son  of  GEORGE ;    add.  Leeds.  Bergamesque  " ;     songs.     B.    Aug.   9, 

George  Percy  composed  songs ;  played  1874,  Caracas,  Venezuela;   add.  Paris, 

piano,  'cello,  violin ;   aided  his  brother  Haigh.  (Thomas)  composed  violin 

EDGAR  A.   in  managing  Leeds  Col-  concerto,    12   sonatas   for   violin   and 

lege  of  Music.    B.  Oct.  10,  1860;   add.  piano;   pupil  of  Haydn.    B.  1769,  Lon- 

Leeds.  don;    d.  1808,  London. 

Haddon  Hall.     Sir  Arthur  Sulli-  Hail    Columbia    is    said   to   have 

van's    three-act    romantic    opera,    to  been  composed  as  a  march  in  honour 

book  by  Grundy,  was  first  performed  of  Greorge  Washington.    The  composer 


HAINL 


255 


HALL 


waa  either  Johannes  Both  or  Prof. 
Phylo,  both  Philadelphia  musicians. 
The  words  were  written  in  1798  by 
Judge  Joseph  Hopkinson,  and  were 
first  sung  to  the  tune  by  Gilbert  Fox, 
an  actor. 

Eainl  (Qeorges)  wrote  "De  la 
Musique  a  Lyon  depuis  1713  jusqu'a 
1852,"  the  year  of  publication;  con- 
ducted at  the  Acad€mie  de  Husique 
and  the  Conservatoire  concerts,  Paris ; 
played  'cello;  founded  'cello  prize  of 
.  1000  francs  at  the  Conservatoire.  B. 
Nov.  19,  1807,  Issoire;  d.  Paris,  June 
2,  1873. 

Eaitzinger  (Anton)  sang  ten.  in 
opera.  Theatre  an  der  Wien,  Vienna, 
1821 ;  founded  an  opera  school,  Carls- 
ruhe;  retired  1850.  B.  Lichtenstein, 
Austria,  Mar.  14,  1796;  d.  Dec.  31, 
1869,  Vienna. 

Halb.  Ger.  "Half,"  as  Ton, 
semitone;  Cadence,  half -cadence; 
Note,  minim. 

Hale.    ADAM  de  la. 

Hale  (Philip)  wrote  music  criti- 
cism for  various  Boston  newspapers, 
in  1908  for  the  Boston  "Herald"; 
lectured  on  musical  topics;  wrote 
analytical  and  historical  programmes 
for  Boston  Symphonjr  Orchestra; 
played  organ  First  Religious  Society, 
Roxbury,  Mass.,  St.  Peter's,  Albany; 
pupil  of  Dudley  Buck,  1876,  later 
of  Hauptmann,  Faiszt,  Rheinberger, 
Guilmant,  Urban,  Bargiel,  Raif,  and 
Scholz.  B.  Mar.  5,  1854,  Norwich, 
Vt.;  add.  Boston.  Irene  Baumgras 
composed  songs  and  piano  music  under 
pen  name  Victor  Rene;  gold  medal- 
ist Cincinnati  College  of  Music,  1881. 
B.  Syracuse,  N.  Y.;    m.  PHILIP. 

Halfivy  (Jacques  Frangois  Fro- 
mental  Elias)  composed  the  opera 
"La  JUIVE,"  the  comic  opera 
"L'Eclair";  was  one  of  the  best 
teachers  and  most  industrious  of  mu- 
sicians. Halevy,  whose  real  name  was 
Levi,  gained  prizes  in  solfege  and 
harmony  at  the  Paris  Conservatoire, 
1810-11,  and  then  enjoyed  the  advan- 
tage of  studying  composition  with 
Cherubini.  "Les  derniers  moments 
du  Tasse,"  "La  Mort  d'Adonis,"  and 
"  Herminie  "  won  honours  for  him  at 
the  Conservatoire,  the  last  named  cap- 


turing the  prix  de  Rome,  1819;  but 
before  leaving  for  Italy  he  composed 
a  De  Profundls  to  Hebrew  text  and  a 
march  performed  in  a  Paris  synagogue 
on  the  death  of  the  Duke  de  Berri, 
which  he  dedicated  to  Cherubini.  A 
period  of  hard  study  in  Rome  bore  fruit 
on  his  return  in  several  dramatic 
pieces,  and  his  first  great  success  came 
in  1830  with  his  ballet,  "Manon  Les- 
caut."  From  1827  he  filled  various 
chairs  at  the  Conservatoire,  number^ 
ing  Goimod,  Mass€,  S.  David,  Bizet, 
and  other  well  known  musicians  among 
his  classes.  He  became  a  member  of 
the  Institut,  1836,  Chevalier  of  the 
Legion  of  Honor,  and  in  1854  per- 
manent secretary  of  the  Academic  des 
Beaux-Arts,  in  which  capacity  he 
wrote  "  Souvenirs  et  Portraits,  etudes 
sur  les  beaux-arts,"  1861.  Many  of 
Halfivy's  operas  were  written  to  in- 
ferior libretti,  although  his  music  was 
excellent.  Among  oilers  to  be  noted 
are:  "Guido  et  Ginevra,"  1838;  "Le 
Sherif,"  1839;  "Le  Drapier,"  1840; 
"  Le  Guitarerero,"  and  "  La  Reine  de 
Chypre,"  1841 ;  "  Le  Val  d'Andorre," 
1848,  "  Le  Juif  errant,"  1852,  "  Vanina 
d'  Ornano,"  and  "  Le  Deluge,"  which 
were  completed  after  his  death  by  his 
son-in-law  Bizet ;  music  to  his  brother 
Leon's  translation  of  "Prometheus 
Bound"  (.^sohylus) ;  and  these  by 
no  means  complete  the  list.  B.  May 
27,  1799,  Paris;  d.  Nice,  Mar.  17, 
1862.  See  biography  by  his  brother 
Leon,  1862. 

Halir  (Earl)  conducted  Weimar 
court  orchestra  and  played  in  the 
Joachim  quartet;  pupil  of  Joachim. 
B.  Feb.  1,  1859,  Hohenelbe,  Bohemia; 
m.  the  singer  Therese  Zerbst,  1888; 
add.   London. 

Hall  (Henry)  composed  a  Te 
Deum,  five  anthems,  and  other  church 
miisic;  organist  and  vicar  choral 
Hereford  Cathedral,  1698.  B.  1655, 
Windsor;  d.  Mar.  30,  1707,  Hereford. 
Henry,  Jr.,  succeeded  to  his  father's 
offices  at  Hereford  Cathedral.  D; 
Jan.  22,  1713. 

Hall  (Marie)  played  violin  admir 
rably,  ranking  as  the  foremost  violin- 
ist of  British  birth;  pupil  of  Wil- 
helmj  in  London  and  of  Sevcik,  at 


hall£ 


356 


HAiaMEKSTEII]' 


Prague,  1901-3;  toured  America 
1905-6.  B.  Newcastle-on-Tyne,  April 
8,  1884;  daughter  of  a  harpist;  add. 
London. 

Halle  (Sir  Charles)  played  piano 
in  London,  where  his  recitals  were 
long  a  feature  of  the  musical  season; 
conducted  the  Manchester  Orchestra 
and  Grentlemen's  Concerts;  founded 
the  Royal  College  of  Music,  Manches- 
ter, of  which  he  was  first  principal, 
1893;  conducted  Bristol  Festival, 
1873-93;  LL.D.  University  of  Edin- 
burgh, 1880;  knighted,  1888;  pupil 
in  early  manhood  of  Kalkbrenner  and 
the  associate  of  Chopin,  Liszt,  Thal- 
berg,  Berlioz,  and  Cherubini;  gave 
concerts  in  Paris,  but  settled  in  Eng- 
land on  the  Kevolution  of  1848.  B. 
Hagen,  Westphalia,  April  11,  1819; 
m.  the  singer  NORMAN-NERUDA, 
1888 ;  d.  Oct.  25,  1895,  Manchester. 

Hallelujah.  Heb.  "  Praise  Je- 
hovah."    ALLELUIA. 

Hallelujah  Chorus  is  a  famous 
number  in  Handel's  "Messiah." 

Hailing.  Norwegian  country  dance. 

Hals.    Ger.  Neck  of  an  instrument. 

Hamboys  (Dr.  John)  wrote 
"  Summa  super  Musicum  Continuam 
et  Discretam,"  and  other  Latin  works 
on  music,  the  one  named  being  a  com- 
mentary on  the  works  of  the  Francos, 
about  1470.    Probably  a  priest. 

Hamerik  (Asger)  composed  six 
symphonies:  No.  1,  Poetique,  No.  2, 
Tragique,  No.  3,  Lyrique,  No.  4,  Ma- 
jestueuse;  No.  5,  Serieuse,  No.  6, 
Spirituelle,  the  last  two  for  strings 
only;  headed  the  conservatory  of  the 
PEABODY  INSTITUTE,  Baltimore, 
1872-98;  pupil  of  Gade  in  Copen- 
hagen, of  von  Balow  in  Berlin,  of  Ber- 
lioz, whose  only  confident  he  was  in 
musical  matters.  Besides  the  orches- 
tral works  named,  Hamerik  composed 
suites,  two  choral  trilogies,  a  requiem, 
and  the  operas  "Tovelille,"  "Hjal- 
mar  and  Ingeborg,"  "  La  Vendetta  " 
and  "Der  Reisende";  knighted  by 
the  King  of  Denmark,  1890.  B. 
Copenhagen,  April  8,  1843;  add. 
Copenhagen. 

Hamerton  (William  Henry)  com- 
posed the  opera  "  St.  Alban,"  Dublin, 
1826;    songs  and  anthems,   sang  in 


English  Chapel  Royal.  B.  1795,  Not- 
tingham;   d.  Calcutta. 

Hamilton  (James  Alexander) 
edited  Cherubini's  "  Counterpoint  and 
Fugue  ";  and  wrote  primers.  B.  1785, 
London;    d.  Aug.  2,  1845,  London. 

Hamlet.  Ambroise  Thomas's  five- 
act  grand  opera,  to  book  by  Barbier 
and  Carrg,  based  on  Shakespeare's 
play,  was  first  performed  Mar.  9,  1868, 
at  the  Paris  Acad€mie.  The  libret- 
tists have  altered  Shakespeare's  plot 
to  the  extent  of  introducing  a  ballet, 
causing  Hamlet  to  succeed  his  imcle 
as  King  of  Denmark,  permitting  the 
Queen,  Laertes,  and  Folonius  to  live. 
The  musical  numbers  include:  Act  I: 
"Angli  eterni,"  Ophelia;  duo  for 
Hamlet  and  Ophelia  followed  by  "  Per 
patrio,"  Laertes ;  "  Banda  alio  via 
mestizia,"  chorus;  Act  II:  scena, 
Ophelia ;  the  drinking  song,  "  0  li- 
quore,"  the  soliloquy  "  Essere  o  no," 
Hamlet ;  Act  III :  "  A  questa  pie," 
Ophelia,  "  Deh!  vanne  a  un  chiostro," 
Hamlet,  Ophelia,  and  the  Queen;  Act 
IV:  dance  music,  the  "mad"  scena, 
Ophelia;  Act  V:  "Povero  fior," 
chorus. 

Hammer.  That  part  of  the  piano 
mechanism  which  strikes  the  strings; 
mallet  for  playing  the  dulcimer;  the 
clapper  of  a  bell. 

Hammerclavier.     Oer.     PIANO. 

Hammerschmidt  (Andreas)  com- 
posed "  Musicalische  Andachten,"  set- 
tings of  sacred  words  to  German  texts 
which  were  among  the  most  impor- 
tant Lutheran  compositions  prior  to 
Johann  Sebastian  Bach's  period;  the 
chorales,  "Meinen  Jesum  lass  ich 
nicht,"  "Hosiana  David's  Sohn,"  a 
"  Meine  Seele  Gott  Erhebet,"  still  in 
use;  played  organ,  Freiberg  and  Zit- 
tau  churches.  B.  1612,  Brux,  Bohe- 
mia;   d.  Nov..  8,  1675. 

Hammerstein  (Oscar)  built  the 
Manhattan  Opera  House,  New  York 
City,,  and  gave  an  excellent  series  of 
performances,  1906-7,  in  opposition 
to  the  Metropolitan  Opera  House, 
which  were  continued  1907-8,  and 
then  built  an  opera  house  in  Phila- 
delphia, for  which  he  engaged  a  special 
company  for  the  season  of  1908-9.  In 
early   life   Mr.   Hammerstein  was  a 


HANDBELLS 


ZS'i 


HAITDEL 


cigar  maker.  His  inventions  of  ma- 
chinery for  use  in  this  trade  brought 
him  large  sums  of  money,  which  he 
invested  in  theatrical  enterprises.  He 
built  seven  theajtres  in  New  York  City, 
retaining  the  Victoria  for  his  own  use, 
and  presenting  so-called  "  vaudeville  " 
at  great  profit.  Mr.  Hammerstein's 
venture  in  grand  opera  was  made 
without  help  of  outside  capital,  and 
he  acted  as  his  own  impresario. 

Handbells  are  employed  by  Eng- 
lish change-ringers  for  practising  the 
changes  later  to  be  performed  on  tower 
bells.  As  five  men  can  manage  60 
bells,  bands  of  handbell  players  in 
England  often  perform  elaborate 
music. 

Handel  (George  Frederick)  com- 
posed "The  Messiah,"  one  of  the  great- 
est of  oratorios,  40  operas,  of  which 
only  a  few  airs  and  his  "  Largo,"  an 
interlude  from  "  Rinaldo,"  survive; 
was  the  greatest  organ  and  harpsi- 
chord soloist  of  his  age  with  the  ex- 
ception of  Johann  Sebastian  Bach,  and 
the  greatest  of  English  musicians, 
though  born  in  Glermany.  Son  of  a 
barber,  who  finally  became  surgeon 
and  valet  to  the  Prince  of  Saxe- 
Madgeburg,  and  looked  upon  music 
with  contempt,  Handel  was  obliged 
to  study  in  secret  as  a  boy,  but  the 
intercession  of  the  Duke  of  Saxe- 
Weissenfels  won  from  the  father  per- 
mission for  the  lad  to  follow  his  natu- 
ral bent,  and  he  became  the  pupil  of 
Zachau,  organist  of  Halle  Cathedral, 
where  he  studied  organ,  composition, 
and  practised  violin  and  clavier.  In 
three  years  he  had  acquired  all  the 
knowledge  Zachau  could  impart,  and 
had  composed,  among  other  pieces,  one 
motet  each  week.  By  Zachau's  advice 
he  went  to  Berlin,  where  his  impro- 
visations at  the  organ  and  harpsi- 
chord won  instant  favour.  There  he 
met  Bononcini,  whose  successful  rival 
he  became  later  in  life;  and  studied 
with  Ariosti.  The  Elector  volunteered 
to  send  the  yoimg  musician  to  Italy, 
but  his  father  insisted  that  he  return 
to  Halle,  where  he  was  entered  as  a 
university  student,  1702,  but  in  the 
same  year  became  organist  to  the 
Schloss  und  Domkirche.     The  death 


of  his  father  compelled  him  to  seek  a 
livelihood,,  and  the  following  year  he 
engaged  as  violino  ripiendo  at  the 
Hamburg  Opera  under  Keiser,  whom 
he  succeeded  as  clavicinist.  In  1703 
he  and  Mattheson  competed  for  a  va- 
cant post  of  organist  at  Ltibeck,  but 
both  retired  on  learning  that  the  or- 
ganist would- have  to  marry  the  daugh- 
ter of  his  predecessor.  Later  the  two 
musicians  quarreled  over  Mattheson's 
opera  "  Cleopatra,"  a  duel  followed, 
and  only  a  brass  button,  which  turned 
Mattheson's  sword',  saved  Handel's 
life.  In  1705  "  Almira  "  and  "  Nero," 
Handel's  first  operas,  were  produced 
at  Hamburg,  and  these  were  quickly 
followed  by  "Daphne,"  "  Florinda," 
and  a  Passion  cantata.  In  1706  he 
visited  Florence,  Venice,  Bome,  and 
Naples.  A  four  years'  sojourn  in- 
itiated the  composir  into  the  beauty 
of  Italian  song,  and  he  composed  the 
operas  "  Rodrigo,"  "  Agrippina,"  the 
oratorios  "  Resurrezione,"  and  "  II 
Trionfo  del  Tempo,"  some  church 
music,  and  the  serenata  "Aci,  Galatea, 
e  Polifermo,"  a  subject  to  which  he 
afterwards  composed  an  English  sere- 
nata. In  1810  he  accepted  the  post 
of  chapelmaster  to  the  Elector  of 
Hanover,  but  went  to  England  on  leave 
of  absence,  and  composed  "  Rinaldo  " 
in  the  two  weeks  previous  to  its  pro- 
duction, Feb.  14,  1711.  The  success 
of  this  opera  was  so  great  that  Handel 
reluctantly  returned  to  Hanover,  and 
soon  returned  to  England,  overstaying 
his  leave,  and  thus  for  a  time  losing 
favour  with  the  Elector,  who  came  to 
the  English  throne  as  George  I.  On  the 
suggestion  of  Baron  Kielmannsegge, 
Handel  wrote  the  "  Water  Music  "  for 
a  f§te  given  by  the  King,  and  this  not 
only  restored  him  to  favour,  but 
brought  him  an  annuity  of  $1000  per 
annum.  While  in  Hanover  with  the 
Elector-King,  1715-16,  he  composed  a 
Passion  oratorio  to  German  text.  Re- 
turning to  England,  he  was  chapel- 
master to  the  Duke  of  Chandos  for 
the  next  three  years  at  Cannons, 
where  he  composed  "  Esther,"  his  first 
English  oratorio,  the  Chandos  Te 
Deums,  and  anthems,  and  his  second 
"Acis  and  Galatea."    In  1820  be  as- 


17 


HAKBEL 


358 


HANDEL  FESTIVAL 


Bumed  direction  of  Italian  opera  for 
the  Royal  Academy  of  Music,  for 
which  he  wrote  "  Radamisto."  Bo- 
noncini  and  Ariosti  went  to  London 
to  compose  for  Handel's  troop,  which 
included  the  sopranist  Senesino  and 
Margarita  Durastanti.  The  rivalry 
between  Handel  and  Bononcini,  in 
which  the  partisans  of  either  camp 
were  ranged  on  semi-political  lines, 
became  acute,  and  it  was  proposed 
that  Handel,  Bononcini,  and  Ariosti 
each  write  one  act  of  the  opera  "  Muzio 
Scevola,"  in  order  to  test  their  merits. 
The  test  failed  to  end  the  controversy, 
but  later  Bononcini  was  charged  with 
plagiarism  (an  offence  of  which  Han- 
del was  frequently  guilty  himself) 
and  driven  from  England.  In  1829 
Handel,  in  partnership  with  Heideg- 
ger, obtained  control  of  the  Kipg's 
Theatre,  for  which  he  composed  sev- 
eral operas,  but  on  the  production  of 
his  oratorio,  "  Deborah,"  1733,  he 
quarreled  with  Senesino,  who  had  be- 
come immensely  popular,  and  the  rival 
"Opera  of  the  Nobility,"  with  Por- 
pora  and  Hasse  as  composers  and  con- 
ductors, was  the  result.  In  1734 
Handel  opened  as  sole  proprietor  at 
Lincoln's  Inn  Fields,  and  later  at 
Covent  Garden,  producing  five  operas 
and  the  "  Ode  to  Alexander's  Feast," 
but  in  the  end  both  companies  became 
bankrupt,  and  Handel,  a  prey  to  over- 
work and ,  worry,  was'  stricken  with 
paralysis  of  the  hand,  and  left  for 
Aix-la-Chapelle.  Returning  to  Lon- 
don with  partially  restored  health,  he 
composed  "Faramondo,"  "  Serse," 
"  Imeneo,"  "  Deidamia  "  for  Heideg- 
ger's opera  house,  and  a  Funeral  An- 
them for  Queen  Caroline.  At  53  he 
turned  to  sacred  music,  conditions  in 
England  making  further  profit  in 
opera  impossible.  "Saul"  and  "Israel 
in  Egypt,"  his  first  oratorios,  were 
by  no  means  well  received.  The  set- 
tings of  the  "Ode  to  St.  Caecilia's 
Day,"  "L'Allegro,"  and  "II  Pense- 
roso "  date  from  this  period.  In 
1841  his  fortunes  seemed  at  their 
ebb,  and  he  went  to  Ireland  upon  the 
invitation  of  the  Duke  of  Devonshire, 
then  Lord  Lieutenant,  and  on  April 
13,  1742,  his  oratorio  "  The  Messiah  " 


was  sung  at  a  charity  concert  in  Dub- 
lin. The  following  year  it  was  per- 
formed under  the  composer's  direction 
in  London.  The  audience  was  deeply 
affected,  and  at  the  "  Hallelujah 
Chorus  "  the  King  arose  to  his  feet, 
his  court  following  the  example,  and 
this  evidence  of  devotion  and  re- 
spect has  remained  the  rule  at  all 
subsequent  performances.  "  Samson," 
"  Joseph,"  "  Semele,"  "  The  Dettingen 
Te  Deum,"  "  Belshazzar,"  "  Hercules," 
"  The  Occasional  Oratorio,"  "  Judas 
Maccabeus,"  "  Joshua,"  "  Solomon," 
"Susanna,"  "Theodora,"  and  "The 
Choice  of  Hercules "  were  produced 
between  1743  and  1750.  His  last 
work,  "  Jephtha,"  was  hindered  by 
failing  eyesight,  and  three  operations 
were  performed  in  a  vain  effort  to  re- 
store his  vision.  Henceforth  he  was 
almost  wholly  blind,  but  continued  to 
play  organ  and  to  direct  the  perform- 
ance of  his  works,  enjoying  in  his  old 
age  an  unrivalled  popularity  with  all 
classes,  especially  with  the  royal 
family,  to  which  he  had  been  music 
master.  His  last  public  appearance 
was  at  a  performance  of  "The  Mes- 
siah" at  Covent  Garden,  April  6, 
1759.  B.  Feb.  23,  1685,  Halle,  Lower 
Saxony;  d.  April  14,  1759.  See  biog- 
raphies by  Schoelcher,  Dr.  Crysander, 
Mattheson,  Mainwaring,  and  Rockstro. 

Handel  and  Haydn  Society  is  an 
old  and  important  musical  society  of 
BOSTON. 

Handel  Commemoration.  A  great 
festival  was  given  in  London,  1784,  to 
mark  the  centenary  of  Handel's  birth, 
at  which  "  The  Messiah "  and  other 
important  works  were  performed, 
Joah  Bates,  conductor.  After  all  ex- 
penses had  been  paid  and  a  small 
sum  set  apart  for  subsequent  festi- 
vals (which  proved  of  minor  impor- 
tance), the  Royal  Society  of  Musicians 
received  $30,000  and  the  Westminster 
Hospital  $5000  as  their  shares  in  the 
receipts. 

Handel  Festival  was  founded  by 
R.  K.  Bowley  in  London,  1857,  and 
after  a  preliminary  festival  in  that 
year  gave  "  The  Messiah "  and  other 
works  at  the  Crystal  Palace,  1859, 
with  an  orchestra  of  460,  a  chorus  of 


hAndel  GESELLSCHAFT    259 


EANSLICK 


2700,  Costa  conducting.  The  festival 
was  tlien  established  for  triennial  per- 
formances. Costa  remained  conductor 
until  1880.  Sir  August  Manns  con- 
ducted the  next  three  festivals,  and  in 
1903  Dr.  F.  H.  Cowen  was  appointed 
conductor. 

Handel  Oesellschaft  was  founded 
in  Leipsic,  1859,  by  Rietz,  Hauptmann, 
Dr.  Crysander,  Gervinus,  and  Breit- 
kopf  &  Hartel  for  the  purpose  of  is- 
suing a  complete, edition  of  the  works 
of  George  Frederick  Handel.  Dr. 
Crysander  was  editor.  German  as 
well  as  English  text  is  provided,  ex- 
cept for  the  Italian  operas  and  Latin 
church  music.  The  edition  numbers 
100  vols.,  the  last  being  devoted  to  a 
thematic  catalogue. 

Handel  Society  was  founded  in 
London,  1843,  to  publish  a  standard 
edition  of  the  works  of  George  Fred- 
erick Handel,  and  had  issued  12  vols, 
on  its  dissolution,  1855. 

Handel  Society  gave  concerts  in 
London,  having  its  own  amateur  chorus 
and  orchestra,  from  1882.  Sir  Julius 
Benedict  was  the  first  president,  and 
the  office  subsequently  devolved  upon 
Sir  John  Stainer,  Sir  Hubert  Parry. 
The  conductors  have  been  F.  A.  W. 
Docker,  Sir  August  Manns,  J.  S. 
Liddle,  and  S.  Coleridge  Tayloi^. 

Handguide.     GUIDE  MAIN. 

Handl  (Jacob)  composed  16  masses, 
published  at  Prague,  the  motet  "  Ecce 
quomodo  moritur  Justus,"  used  by 
Handel  in  his  Funeral  Anthem,  other 
church  music;  chapeltoaster  to  the 
Prince  Bishop  of  Olmutz  and  cantor  at 
St.  Johann's  Church,  Prague.  B. 
Camiola  about  1550;  d.  July  18, 
1591,  Prague. 

Handle,  de  (Bobert)  wrote  a 
Latin  treatise  on  music  based  on  the 
works  of  Franco,  dated  1326,  repub- 
lished by  de  Coussemaker.  Probably 
belonged  to  an  English  family  settled 
in  Kent., 

Hanover  Square  Booms  were  the 
scene  of  many  of  the  most  important 
London  concerts  from  those  given  by 
Bach  and  Abel,  1775  to  1874,  when  the 
building  became  the  Hanover  Square 
Club.  The  site  is  now  occupied  by 
Hanover  Court,  an  apartment  building. 


Hans  Helling.  Heinrich  Marsch- 
ner's  three-act  opera,  to  book  which 
Eduard  Devrient  had  written  for  Men- 
delssohn, was  first  performed  May  24, 
1833,  at  Hanover.  Hana  Heiling,  King 
of  the  Gnomes,  falls  in  love  with  Anna, 
a  peasant  girl,  and  determines  to  cast 
his  lot  with  humanity,  despite  the 
protests  of  his  subjects  and  of  the 
Queen,  his  mother.  Anna  consents  to 
a  betrothal,  urged  by  her  mother,  who 
is  impressed  by  the  gnome-king's 
wealth,  but  later  finds  that  she  really 
loves  Conrad,  a  lad  of  her  own  station 
in  life.  In  despair,  Heiling  throws  a 
knife  at  Conrad,  and  retires  to  the 
mountains.  There  the  gnomes  find 
him,  and  learning  that  he  has  lost  his 
chance  of  happiness  with  the  mortals, 
offer  to  again  recognize  him  as  their 
King.  Heiling  reappears,  however,  at 
the  wedding  of  Anna  and  Conrad,  and 
is  about  to  revenge  himself  on  the 
bridegroom,  when  the  Queen-mother 
appears  and  persuades  him  to  return 
to  his  dominion  beneath  the  earth, 
and  as  the  gnomes  depart  the 
peasants  join  in  a  hymn  of  thanks- 
giving. 

Hansel  und  Gretel.  Engelbert 
Humperdinok's  fairy  opera,  to  text  by 
his  sister  Adelheid  Wette,  based  on 
Grimm's  tale,  was  first  produced  Dec. 
23,  1893,  at  Weimar.  Its  success  was 
immediate,  and  it  has  since  been  re- 
peatedly performed  in  all  parts  of  the 
world,  in  1905-6  at  the  Metropolitan 
Opera  House,  New  York,  when  the 
production  was  supervised  by  the  com- 
poser. To  this  delightful  story,  which 
ought  to  be  familiar  to  every  one,  and 
is  therefore  not  repeated  here,Hump_er- 
dinck  has  given  a  charming  setting 
strictly  in  accordance  with  Wagnerian 
theories. 

Hanslick  (Eduard)  wrote  "Vom 
Musikalisch  Schbnen,"  which  is  a  plea 
for  absolute  rather  than  programme 
music,  many  other  books  on  music, 
criticisms  for  the  Vienna  newspapers; 
opposed  the  Liszt-Wagner  movement; 
warmly  supported  Brahms;  lectured 
on  the  history  and  aesthetics  of  music, 
Vienna  University;  Dr.  juris,  Im- 
perial councillor  and  Hofrath,  Cheva- 
lier of  the  Iron  Crown,    B.  Sept.  U, 


EAKDIHEITT 


260 


HAB3C0N7 


1825,  Prague;  d.  Aug.  6,  1904,  Baden, 
near  Vienna. 
Hardiment.  Fr.  Boldly,  daringly. 
Hare  (John)  published  music  in 
London,  1696  to  1720,  when  the  busi- 
ness was  continued  by  his  son  Joseph 
to  his  death  in  1733.  The  widow  and 
her  daughter  continued  as  publishers 
until  1751. 

Harfe.     Oer.    HARP. 

Earington  (Henry,  M.I).)  com- 
posed glees,  catches,  and  a  sacred  dirge 
for  Passion  week ;  was  both  physician 
and  composer  to  the  Harmonic  Society 
of  Bath  on  its  foundation  by  Sir  John 
Danvers,  1784.  B.  Kelstron,  Somerset- 
shire, Sept.  29,  1727;  d.  Jan.  15,  1816, 
Bath. 

Harmonic  Flute.  Flute  and  reed 
organ  stops  having  tubes  double  the 
normal  length  with  a  hole  in  the 
centre,  and  of  8  ft.  or  4  ft.  pitch. 

Harmonic  Minor.  Minor  scale 
containing  the  minor  sixth  with  the 
major  seventh,  in  which  ascent  and 
descent  are  without  alteration. 

Harmonic  Union  gave  concerts  in 
London,  1852-54. 

Harmonica.  An  instrument  on 
the  xylophone  principle  with  strips  of 
glass  substituted  for  wood.  Benjamin 
Franklin's  "  Musical  Glasses,"  Armon- 
ica,  or  Harmonica,  consisted  of  glass 
bowls  set  on  a  spindle  and  revolving 
in  a  trough  of  water  by  pedal  action, 
the  tone  being  produced  by  friction 
of  the  fingers. 

H^.rmonichord.  An  instrument 
with  keyboard  like  a  piano,  but  pro- 
ducing its  tone  from  a  string  set  in 
vibration  by  friction  with  a  revolving 
cylinder  coated  with  rosin,  invented 
by  Kaufmann,  the  Dresden  instrument 
maker.    The  tone  was  like  a  violin's. 

Harmonici.  Adhered  to  the  Pytha- 
gorean  theory  of  music,  as  opposed  to 
that  of  the  Aristoxenians. 

Harmonics  are  the  overtones  or 
upper  partials  produced  by  the  vibra- 
tions of  the  aliquot  parts  of  a  column 
of  air  or  string.  Recent  authorities 
on  ACOUSTICS  hold  that  both  inten- 
sity and  quality  of  tone  are  dependent 
upon  the  harmonics  produced. 

Harmoniemusik.  Oer.  Music  for 
wind  instruments. 


Harmonious  Blacksmith  is  the 
name  given  to  the  fifth  of  Handel'9 
first  set  of  "  Suites  de  Pieces  puor  le 
Clavicin "  after  the  first  publication, 
1720,  and  was  probably  original  with 
that  composer,  although  the  melody 
has  been  claimed  for  Ballard  and 
Wagenseil.  The  story  that  Handel 
composed  it  after  hearing  a  black- 
smith at  work  was  invented  after  the 
composer's  death. 

Harmonique.     Fr.    Harmonic. 

Harmonium.  A  keyed  wind  in- 
strument which  reverses  the  principle 
of  the  American  reed  organ  by  forcing 
the  air  out  through  reeds  instead  of 
drawing  in  through  them.  It  has  been 
developed  along  elaborate  lines  by 
French  makers,  who  call  it  the  Orgue 
expressif. 

Harmony  is  that  branch  of  musi- 
cal science  which  deals  with  the  com- 
bination of  sounds  of  different  pitch, 
the  formation  of  CHORDS,  their  rela- 
tion and  progression,  and  is  the  result 
of  the  development  of  instrumental 
music,  just  as  counterpoint  grew  with 
the  evolution  of  song.  With  the  an- 
cient Greeks  harmony  was  a  general 
synonym  for  music,  but  while  their 
theory  of  music  was  highly  complex, 
their  application  of  the  principles  of 
harmony  in  the  modern  sense  was 
doubtless  confined  to  the  use  of  a 
few  simple  chords  in  accompaniment. 
Church  music  was  built  as  nearl; 
upon  the  lines  laid  down  by  the  Greek's 
as  its  tonal  architects  could  make  it. 
True,  there  was  the  beginning  of  har- 
mony in  DIAPHONY,  DESCANT,  and 
COUNTERPOINT,  but  its  presence  was 
incidental.  The  early  composers  viewed 
music  horizontally,  that  is  they  were 
seeking  to  combine  two  or  more  melo- 
dies of  nearly  equal  importance,  not 
to  build  up  an  elaborate  structure  on 
perpendicular  lines  for  the  support 
of  a  single  melody.  Polyphonic  music, 
the  glorification  of  song,  reached  its 
highest  perfection  in  Palestrina,  who 
survived  until  1592.  Meantime  the 
application  of  a  crude  harmony  had 
been  made  to  secular  songs  and  instru- 
mental music,  the  Italian  Rennais- 
sance  brought  renewed  interest  in  the 
dramas  of  ancient  Greece,  an  attempt 


HABOLD 


261 


HABBIS 


to  revive  the  ancient  tragedy  resulted 
in  the  creation  of  Italia;;i  opera  at 
Florence  about  1600,  and  then  Claude 
Monte  rerde,  one  of  the  most  notable 
of  musical  reformers,  sought  greater 
freedom  and  larger  contrast  than  the 
rules  governing  polyphonic  music  per- 
mitted, introduced  combinations  of 
sound  forbidden  in  counterpoint,  and 
laid  the  foundations  of  modern  har- 
mony. Monteverde  brought  down  the 
wrath  of  the  theorists  by  introducing 
the  Dominant  seventh  without  prepa- 
ration, and  other  combinations  then 
almost  equally  objectionable,  so  that 
there  seemed  to  be  an  inevitable  con- 
flict between  the  polyphonic  and  har- 
monic systems.  Nevertheless  Johann 
Sebastian  Bach  found  a  means  of 
reconciling  them,  of  making  the  pro- 
gressions of  harmony  as  appreciable 
as  those  of  melody,  of  which,  however, 
they  were  the  result.  Among  the 
more  important  recent  works  on  har- 
mony, the  student  will  do  well  to 
consult  "Harmony  Simplified,"  Rie- 
mann;  "Harmony;  its  Theory  and 
Practice,"  Prout. 

Harold.  Frederic  H.  Cowen's  four- 
act  opera,  to  book  by  Sir  Edward 
Malet,  was  first  performed  June  8, 
1895,  at  Covent  Garden,  London. 

Harp.  The  instrument  employed 
in  modern  orchestra  is  generally  that 
perfected  by  Sebastian  Erard,  1820, 
having  a  compass  of  'C  flat  to  f""  flat 
with  46  strings  on  which  sharps  and 
flats  are  made  by  seven  pedals,  each  of 
which  raises  a  string  and  all  its  oc- 
taves either  a  semitone  or  a  whole 
tone,  and  making  the  instrument 
available  in  all  keys,  though  its  sonor- 
ity decreases  in  proportion  to  the  num- 
ber of  accidentals  used.  This  harp 
is  called  Double  Action  to  distinguish 
it  from  the  earlier,  single  action  harp, 
which  was  so  imperfect  as  to  be  not 
available  in  many  keys.  The  harp, 
with  its  characteristic  triangular 
form,  dates  back  to  the  dawn  of  his- 
tory. The  harp  was  the  favourite  in- 
strument of  the  Irish  and  other  Graelic 
minstrels.  The  Double  Harp  had  two 
rows  of  strings  of  different  tunings. 
The  most  recent  instrument  of  the 
class  is  that  manufactured  by  Pleyel 


since  1904,  which  gives  chromatic  in- 
tervals by  double  stringing  and  does 
away  with  the  pedal  action. 

Harp  Lute.  12  stringed  instru- 
ment invented  by  E.  Light,  1798,  but 
never  in  general  use. 

Harpe.    Fr.    HARP. 

Harper  (Thomas)  printed  music 
in  London,  1631-53. 

Harper  (Thomas)  became  band- 
master East  India  Brigade  Band; 
played  and  taught  trumpet.  B.  May 
3,  1787,  Worcester,  Eng.;  d.  Jan.  20, 
1853,  London.  Thomas  iTohn  played 
trumpet.  B.  Oct.  4,  1816,  London; 
son  of  THOMAS;  d.  Aug.  27,  1898. 
Charles  Abraham  played  horn  in 
English  orchestras.  Son  of  THOMAS ; 
d.  Jan.  5, 1893.  Edmund  played  horn, 
piano,  and  organ.  Son  of  THOMAS; 
d.  May  18, 1869,  Hillsborough,  Ireland. 

Harpsichord.  Keyboard  instru- 
ment resembling  the  grand  piano  in 
shape,  the  strings  being  set  in  vibra- 
tion by  quills  or  leather  points  set 
on  jacks.  As  the  dynamic  quality  of 
the  tones  could  ,not  be  modified  by 
touch,  there  were  sometimes  two  man- 
uals which  could  be  coupled  or  other- 
wise altered  in  tone  by  the  use  of 
stops.  The  instrument  was  used  in 
accompanying  the  first  oratorios  and 
operas,  and  was  not  withdrawn  from 
the  orchestral  until  the  close  of  the 
18th  century.  In  France  it  was  called 
the  Clavecin;  in  Italy  Clavicembalo, 
Gravicembalo,  Cembalo  or  Arpieordo; 
in  (Jerman  Kielflttgel  or  Flilgel.  Fine 
specimens  may  be  seen  at  the  South 
Kensington  Museum,  London,  Metro- 
politan Museum,  New  York,  and  the 
Conservatoire,  Brussels,  and  the  Paris 
Conservatoire  Museum. 

Harris  (Sir  Augustus  Henry 
OIoBSop)  managed  opera  in  London, 
Covent  Garden,  1888-96 ;  was  an  actor 
in  early  life,  stage  manager  for  Maple- 
son,  and  lessee  of  Drury  Lane,  1879- 
87;  knighted,  1891,  while  Sheriff  of 
London.  B.  1852,  Paris;  d.  June  22, 
1896,  Folkstone,  Eng. 

Harris  (Joseph  John)  composed 
songs  and  Cathedral  music;  played 
organ  Manchester  Cathedral;  choris- 
ter to  Eng.  Chapel  Royal.  B.  1799, 
London;  d.  Feb.  10,  1869,  Manchester. 


HABBIS  2G2  HARVARD 

Harris  (Joseph  Hacdonald)  Hart  (Joseph  Binns)  composed 
taught  music;  conducted,  composed  dance  music,  farces;  played  organ; 
songs;  chorister  Westminster  Abbey,  wrote  "An  Easy  Method  of  teaching 
B.  1789;   d.  1860.  Thorough-bass  and  Composition."    B. 

Harris  (Renatus)  built  organs  in  1794,  London;  d.  Dec.  10,  1844, 
London   in   competition,  with   Father   Hastings. 

SMITH,  1660.   Several  members  of  the        Hart     (Philip)     composed     organ 
family  were  well  known  organ  builders,    fugues,     setting    of     "The    Morning 
John,  who  was  in  partnership  with   Hymn,"  "  Paradise  Lost ";   played  or- 
John  Byfield,  1729-40,  was  the  last  of   gan.     D.  1749,  London, 
the  name.  Hartmann  (Johaan  Ernst)  wrote 

Harris  (Victor)  composed  the  the  song  "  KBnig  Christian,"  which 
operetta  "  MUe.  Mai  et  M.  de  Sembre,"  first  appeared  in  the  opera  "  Die 
piano  suite,  cantata;  conducted  Utica  Fischer,"  and  which  has  since  be- 
Choral  Union;  assisted  Seidl  at  come  the  Danish  National  Hynm;  led 
Brighton  Beach;  played  organ  in  Royal  Copenhagen  Orchestra,  1768. 
churches;  taught  singing;  pupil  of  B.  1726;  d.  1793.  August  Wilhelm 
Blum,  Schilling,  Courtney,  and  Seidl.  played  organ  at  the  Garrison  Church, 
B.  April  27,  1869,  New  York  City;  Copenhagen,  1800-50.  B.  1775;  son 
add.  New  York  City.  of  JOHANN  ERNST.    Johann  Peter 

Harrison  (J.)  published  music  in  Emilius  composed  a  cantata  on  the 
London,  1779-1802,  including  works  death  of  Thorwaldsen,  the  opera 
of  Handel,  Arne,  and  Boyce.  "  Ravnen,"  a  symphony,  church  music  j 

Harrison  (Samuel)  sang  ten.  in  directed  Copenhagen  Conservatory, 
London  concerts  of  Ancient  Music,  and  1840.  B.  May  14,  1805;  son  of 
at  the  Handel  Commemoration.  B.  AUGUST  WILHELM,  d.  Mar.  10, 
Sept.  8,  1760,  Derbyshire;  m.  the  1900.  Emil  composed  the  operas 
sop.  singer  Cantelo;    d.  June  25,  1812.    "Die    Erlenmadchen,"    "Die    Nixe," 

Harrison  (William.)  established  "  Die  Korsikaner,"  "  Runenzauber,'' 
an  English  opera  company,  1856,  which  the  ballet  "  Fjeldstuen,"  three  sym- 
played  at  Drury  Lane,  the  Lyceum,  phonies;  songs  and  chamber  music; 
and  Covent  Garden,  London,  to  1864;  pupil  of  his  father  JOHANN  PETER 
created  ten.  rOles  in  "  Bohemian  Girl,"  EMILIUS,  and  his  brother-in-law, 
"Maritana,"  etc.  B.  June  15,  1813,  Gade.  B.  Feb.  21,  1836;  d.  July  18, 
London;    d.  Nov.  9,  1868.  1898,  Copenhagen. 

Hart  (Charles)  composed  the  ora-  Hartvigson  (Prits)  played  piano; 
torio  "Omnipotence,"  church  music;  debut  Copenhagen,  when  14;  pianist 
played  organ.  B.  May  19,  1797;  d.  to  the  Princess  of  Wales,  1873 ;  taught 
Mar.  29,  1859,  London.  Normal  College  for  Blind,  Royal  Acad- 

Hart  (James)  composed  songs;  emy  of  Music,  1888,  Royal  College  of 
sang  Eng.  Chapel  Royal.  B.  1647,  Music,  London,  1905 ;  Knight  of  the 
York;    d.  May  8,  1718.  Dannebrog.     B.   May   31,    1841,  Jut- 

Hart  (John)  made  violins  in  Lon-  land,  Denmark;  add.  London.  Anton 
don,  establishing  his  business,  1825.  lectured  on  music;  played  and  taught 
John  Thomas  made  violins  and  be-  piano ;~  made  Professor  by  King  of 
came  the  greatest  authority  on  these  Denmark,  1900.  B.  Oct.  16,  1845, 
instruments  of  his  generation.  B.  Denmark;  brother  of  FRITS;  add. 
Dec.     17,    1807;     d.    Jan.     1,     1874.    London. 

Oeorge  wrote  "  The  Violin ;  its  fa-  Harvard  Itusical  Association 
mous  makers  and  their  imitators,"  gave  from  six  to  ten  concerts  iinnually 
1875;  continued  the  business  of  his  in  Boston  from  1865  to  1882,  under  the 
father  JOHN  THOMAS.  B.  Mar.  23,  direction  of  Carl  Zerrahn,  consisting 
1839,  London;  d.  April  25,  1891.  of  the  best  orchestral  music,  with  oo- 
Oeorge  succeeded  to  the  business  of  casional  choral  performances  and  in- 
his  father,  GEORGE.  B.  Jan.  4,  1860,  strumental  and  vocal  solos.  The  asso- 
.Warwiok;   add.  London.  elation  retired  from  the  concert  field 


HARVARD  ,      263 

on  the  establishment  of  the  Boston 
Symphony  Orchestra.  The  "Pierian 
Sodality,'*  1808,  was  the  first  musical 
organization  of  importance  at  Har- 
vard University,  and  out  of  this  so- 
ciety the  association  was  formed  in 
1837.  The  association's  library  num- 
bered 2500  carefully  chosen  volumes, 
including  complete  editions  of  the 
great  composers. 


HASTREITER 


Three  years  later,  while  in  Naples,  he 
became  the  pupil  of  Porpora,  whom  he 
detested,  and  of  Scarlatti,  who  became 
his  real  master  in  composition.  "  Se- 
sostrato,"  his  first  Italian  opera, 
Naples,  1726,  extended  his  reputation, 
which  was  greatly  increased  by  a 
Miserere  composed  while  he  taught 
at  the  Scuola  degl'  Incurabili.  In 
1729  he  married  the  celebrated  singer 


Harvard  tTniversity  was  the  first   Faustina  Bordoni,  and  two  years  later 


of  American  institutions  of  learning 
to  create  a  chair  of  music.  In  1862 
J.  K.  PAINE  had  been  made  instruc- 
tor of  music,  and  in  1870  music  had 
been  made  an  elective  study  in  the 
arts  course.  In  1875  Mr.  Paine  was 
raised  to  the  dignity  of  full  professor 
of  music,  which  he  filled  until  his 
death.  The  chair  was  filled  in  1908 
by  W.  E.  Spalding. 

Harwood  (Basil)  composed  an 
organ  sonata  in  C  sharp  minor,  church 
music;  played  organ  Ely  Cathedral, 
Christ  Church,  Oxford,  1896;  became 
Choragus  at  the  university,  1900 ;  con- 
ducted Orpheus  Society  and  Oxford 
Orchestral  association.  B.  April  11, 
1859,  Woodhouse,  Olveston,  Eng.;  add. 
Oxford. 

Harwood  (Edward)  composed 
"Absence,"  "Hapless  Collin,"  and 
other  popular  songs,  and  the  anthem 
"Vital  spark  of  heavenly  flame."  B. 
Hoddleson,  Eng.,  1707;  d.  1787, 
Liverpool. 

Haslinger  (Tobias)  established  a 
music  publishing  business  in  Vienna 
and  became  the  close  friend  as  well 
as  publisher  to  Beethoven.  B.  Mar. 
1,  1787,  Zell,  Upper  Austria;  d.  June 
18,  1842,  Vienna.  Earl  composed  100 
publications;  played  piano;  contin- 
ued the  business  of  his  father  TO- 
BIAS. B.  June  11,  1816;  d.  Dec.  26, 
1868. 

Hasse  (Johann  Adolpb)  composed 
more  than  100  operas,  as  well  as  ora- 
torios, masses,  cantatas,  symphonies, 
chamber  music,  was  in  turn  rival  com- 
poser to  Porpora,  Handel,  and  Gluok, 
a  successful  conductor,  and  in  early 
life  an  excellent  tenor.  During  an 
early  engagement  at  the  Brunswick 
Theatre  Hasse  produced  "  Antigonus," 
his  only  opera  to  German  text,  1721. 


assumed  charge  of  the  court  opera 
of  August  II  at  Dresden,  where  his 
opera  "Alessandro  nell'  Indie,"  in 
which  his  wife  took  the  leading  r61e, 
established  his  position,  despite  .the 
presence  in  Dresden  of  Porpora.  In 
London  his  "  Artaserse  "  was  produced 
with  great  success,  but  he  disliked 
England,  and  soon  returned  to  Dres- 
den, where  he  remained  imtil  1760, 
when  the  fortunes  of  war  compelled 
August  II  to  dismiss  him.  At  this 
time  he  had  the  misfortime  to  lose 
his  property  and  a  complete  collec- 
tion of  MS.  which  he  was  preparing 
for  publication.  In  Vienna  he  en- 
countered Gluck,  but  produced  "  Kug- 
giero  "  and  other  opreas,  and  then  re- 
tired to  Venice.  B.  Mar.  25,  1699, 
Hamburg;  d.  Dec.  16,  1783,  Venice. 
Faustina  Bordoni  sang  sop.  in  opera ; 
debut  in  1716,  at  Vienna,  where  her 
salary  was  15,000  florins,  in  London, 
under  Handel,  who  paid  her  $10,000 
per  season,  and  Dresden.  She  was  of 
a  noble  Venetian  family  and  very 
beautiful.  B.  1693,  Venice;  m.  Hasse, 
1729;    d.  Venice,  1783. 

Hassler  (Hans  Leo)  composed  the 
"xxiv  Canzonetti  a  4  voci,"  masses, 
and  other  church  music;  music  direc- 
tor in  Augsberg,  1600.  B.  1564,  Nu- 
remberg; d.  June  8,  1612,  Frankfort. 
Jacob  composed  madrigals,  church 
music;  court  organist  at  Prague. 
Younger  brother  of  HANS  LEO. 
Probably  died  1611.  Caspar  composed 
songs;  played  organ  and  clavier.  B. 
1570;  brother  of  HANS  LEO;  d.  1618, 
Nuremberg, 

Eastreiter  (Helene)  sang  con.  in 
opera,  especially  successful  in  Wag- 
nerian iSles  and  as  Orfeo.  B.  Nov. 
14,  1858,  Louisville,  Ky.;  m.  Dr.  Bur- 
gunzio;    add.  Genoa. 


HATTON  364'      •  HAWBS 

Hatton  (John  Iiiptrot)  composed  Hauptwerk.    Ger.    Great  organ. 

150  songs,  two  cathedral,  services,  the  Haiiser  (Tohann  Ernst)  wrote  a 

cantata  "  Robin  Hood,"  Bradford  Fes-  dictionary    of   music,    Meissen,    1830, 

tival,  1856,  the  opera  "  Pascal  Bruno,"  and  other  books  on  music.     B.  near 

Vienna,  1844;    much  dramatic  music  Quedlinberg,  1803. 

for  the  productions  of  Charles  Kean,  Hauser  (Franz)  sang  bar.  in  opera; 

for  whom  he  directed  at  the  Princess  directed  Munich  Conservatory;  wrote 

Theatre,  London.     B.   Oct.   12,   1809,  "  Gesanglehe,"  1886.    B.  Jan.  12,  1794, 

Liverpool;   d.  Sept.  20,  1886,  Margate,  near  Prague;    d.  Aug.  14,  1870,  Frei- 

Hauk  (Minnie)  sang  sop.  in  opera;  burg  in  Breisgau. 

debut  Oct.  13,  1866,  in  Brooklyn,  as  Hauser  (Miska)  composed  "  Lieder 

Amina  in  "  Sonnambula,"  later  with  ohne  worte  "  for  violin,  toured  Europe, 

complete  success  in  the  principal  music  America,    South   America,    and   Aus- 

centres  of  Europe  and  at  the  head  of  tralia  as  violin- virtuoso;   debut  at  12. 

her  own  company  in  America.     Car-  B.  Presburg,  1822;    d.  Dec.  9,  1887, 

men  she  sang  500  times,  and  her  reper-  Vienna. 

toire  included  100  r6les.    In  1881  she  Hausmann  (Bobert)  played  'cello 

married    Baron    Ernest    von    Hesse-  in  the  Joachim  quartet;  taught  violin 

Wartegg,  and  retired  five  years  later;  in  the  Berlin  Hochschule.    B.  Aug.  13, 

Officer  of  the  French  Academy,  Order  1852,  Rottleberode  Harz;   add.  Berlin, 

of  St.  Cecilia,  Rome ;   Chamber  Singer  Hausse.     Fr.     Nut   of  the  violin 

to  the  Prussian  Court.     B.  Nov.   14,  bow. 

1852,  New  York;    add.  Lucerne.  Hausser.    Fr.    To  raise  or  sharpen. 

Eaupt.      Ger.     Principal;     head;  Haussman    (Valentin)    composed 

chief.  Grcrman  secular  songs,  Polish  dances. 

Haupt     (Carl     August)     played  B.  Gerbstadt,  near  Merseburg,  Saxony; 

organ,    remarkable    for    extemporisa-  publications  dated  1688-1711. 

tions;   pupil  of  A.  W.  Bach,  whom  he  Haut.    Fr.     High, 

succeeded   as  director   of  the   Berlin  Hautbois.    Fr.    OBOE. 

Koenigliche    Kirchenmusik    Institut.  Hautbois  d'Amour.     Fr.     Small 

B.  Aug.   25,   1810,  Kuhnau,   Silesia;  oboe  now  obsolete. 

d.  July  4,  1891,  Berlin.  Hautboy.    OBOE. 

Hauptmann  (lUCoritz)  wrote  "  Die  Havergal  (Rev.  William  Henry) 

Natur    der   Harmonik   imd   Metrik,"  composed   the    hymn    "  From   Green- 

Eng.  trans.,  1888,  and  other  important  land's  icy  mountains,"  services, chants; 

scientific  works ;    composed  the  opera  wrote    "  History    of    the    Old    100th 

"Mathilde,"    Cassel,     1826;     masses.  Tune,"  "  The  Old  Church  Psahnody," 

choruses,    and    part    songs;    became  etc.;    rector  of  St.  Nicholas,  Worces- 

Cantor    and    Musikdirektor    of    the  ter,   and   Hon.    Canon.     B.   Jan.   18, 

Thomasschule,  Leipsio,  1842;    taught  1793,   High   Wycombe,   Bucks,   Eng.; 

counterpoint  and  composition  Leipsic  d.  April  19,  1870,  Leamington. 

Conservatory,     numbering     Joachim,  Hawdon  (Matthias)  composed  an 

Von    Bfilow,     Sullivan,     and    others  Ode  on  the  King  of  Prussia,  for  organ 

among  his  pupils;  Ph.D.,  etc.    B.Oct,  and  harpsichord;    played  organ.     D. 

13,   1792,  Dresden;    d.  Jan.  3,  1868,  1787,  Newcastle,  Eng. 

Leipsic.  Hawes  (William)  composed  glees 

Haiiptmanual.    Ger.    Great  organ,  and    songs;     arranged    "Der    Freis- 

Hauptnote.     Qer.     Essential  note,  chtttz,"  and  other  great  operas  for  the 

aT'S^Srlr  *'^*""^®'       ^^^'      P'^'°-<^PaJ  English  productions  he  directed  at  the 

brajECT.  Lyceum,  1824-29;    in  boyhood  choris- 

T^^irtP                  ^^'■'      I'rincipal  ter  of  the  Chapel  Royal;   later  master 

lHi,ME.  of  the  children  and  lay  vicar,  Weat- 

n^^^            '^'    ^^^-    Perfect  CA-  minster  Abbey;    one  of  the  founders 

DBNCE.  of  the  London  Philharmonic  Society. 

Hauptstimme.       Ger.      Pjincipal  B.  June  21,  1785,  London;   d.  Feb.  18, 

P*"^-  1846,  London. 


HAWKINS 


265 


HAYDN 


Hawkins  (James)  composed  17  Vienna,  his  talent  for  music  showed 
services,  75  anthems ;  organist  Ely  itself  at  a  very  early  age,  and  at  eight 
Cathedral.  B.  Cambridge;  d.  1729.  he  was  admitted  to  the  choir  of  St. 
James  composed  church  music ;  played  Stephen's  Cathedral,  Vienna,  where  he 
organ  Peterborough  Cathedral,  1714-  remained  until  his  voice  broke,  render- 
59.     Son  of  JAMES.  ing    him    unfit    for    further    service. 

Hawkins  (Sir  John)  wrote  "  Gen-  Chapelmaster  von  Reuter  does  not ' 
eral  History  of  the  Science  and  Prao-  seem  to  have  taught  Haydn  anything 
tice  of  Music,"  which  was  less  popular  beyond  elementary  singing,  but  he  had 
at  first  than  that  of  Dr.  Bumey,  both  learned  enough  Latin  in  the  service 
appearing  1776,  but  has  since  been  of  the  church  to  understand  "  Gradus 
regarded  as  the  better.  A  lawyer  by  ad  Parnassum,"  Fux's  book  on  har- 
profession,  Hawkins  was  a  member  of  mony  upon  which  he  founded  his  own 
the  Academy  of  Ancient  Music,  the  method  of  composition.  Unwilling  to 
associate  of  Dr.  Johnson,  one  of  the  burden  his  family  by  returning^  to 
executors  of  his  will  and  his  historian ;  Eohrau,  Haydn  accepted  the  hospital- 
a  contributor  to  "  The  Gentleman's  ity  of  Keller,  a  wig  maker,  whose  son 
Magazine,"  and  the  editor,  1760,  of  had  been  a  fellow  chorister  at  St. 
the  "  Compleat  Angler."  B.  Mar.  30,  Stephen's.  Whatever  of  bitterness 
1719,  London;  knighted,  1772;  d.  crept  into  the  composer's  happy  life 
May  21,  1789.  in  after  years  may  be  ascribed  to  his 

Haydee.  Daniel  F.  B.  Auber's  marriage  to  Maria  Anna  Keller,  his 
three-act  opera,  to  book  by  Scribe,  benefactor's  daughter,  which  occurred 
was  first  performed  Dec.  28,  1847,  at  after  he  had  won  his  first  success, 
the  Paris  Op6ra  Comique.  He  had  wished  to  marry  her  younger 

Hayden  (George)  composed  three   sister,  who,  however,  entered  a  con- 
cantatas,     popular    songs,     including   vent.    While  his  fortunes  were  at  the 
"  New  Mad  Tom " ;    played  organ  St.    ebb,    Haydn    ran    across    a    copy  _  of 
Mary   Magdalen,   Bermondsey.      Can-    C.  P.  E.  Bach's  six  sonatas  for  clavier, 
tatas  were  published,  London,  1723.      which  he  studied  most  industriously, 
Hayden  (Philip  Cady)  edited  and    having   procured   an   old   clavier   for 
published  "  School  Music"  from  1900;    his  garret.    In  after  years  he  always 
wrote  on  "Ear  Training  in  Rhythm    spoke  of  Bach  with  profound  rever- 
Forms";  was  supervisor  of  music  in    ence,    saying   the    sonatas    had    first 
schools  of  Keokuk,  la.,  and  Carthage    awakened   his   intelligence   in  music, 
and  Hamilton,   111. ;    president,  vice-   Despite  his  extreme  youth  and  poverty- 
president,   and   four   times   secretary    stricken  appearance,  Haydn  managed 
of  music  section.  National  Educational    to  get  pupils,  and  even  to  secure  a 
Association;    twice   president  Illinois    place   as   church   organist.     He   was 
State    Music    Teachers'    Association;    eager  to  learn,  and  having  encountered 
educated  Oberlin  College  and  Oberlin    the  poet  Metastasio,  then  at  work  in 
Conservatory.      B.    1854,    Brantford,    Vienna   with   Pofpora,   who  was   re- 
Ontario;  add.  Keokuk,  la.  puted  the  best  teacher  and  composer 
Haydn  (Franz  Joseph),  "  Father    of  the  period,  Haydn  so  recommended 
of  the  Symphony,"  friend  of  Mozart,    himself  to  the  poet  that  he  endeav- 
and  teacher  of  Beethoven,  is  best  re-    cured  to  make  Porpora  accept  him  as 
membered  as  the  composer  of  "The   a  pupil.     Porpora  was  ill,  disgusted 
CREATION"  and  "The  SEASONS,"    with   life,   and   lived   like   a  hermit, 
oratorios    still    sung   throughout   the    The  suggestion  threw  him  into  a  rage, 
world  at  music  festivals,  for  his  "  AB-    and  he  began  to  exclaim  against  the 
SCHIED"      "MARIA     THERESA,"   ingratitude  of  his  former  pupils,  citing 
"  TOY  "  'and   other   symphonies,   and   their  conduct  as  the  reason  of  his  re- 
fer numerous  string  quartets,  a  form   fusal  to  teach.    Undaunted  by  the  re- 
of    composition     which    he     brought   buff,  Haydn  entered  Porpora's  house- 
to  finaTperfection.     Born  of  humble    hold  aa  a  valet.    His  good  humour  and 
parentage  in  Kobrau,  a  village  near   intelligence    won    the    old    master's 


HAYDN 


266 


HAYDN 


friendship,  and  the  coveted  lessons 
followed.  Through  his  connection 
with  Porpora,  Haydn  quickly  gained 
powerful  friends,  and  at  length  at- 
tracted the  attention  of  Prince  Anton 
Esterhazy,  whose  service  he  entered, 
and  whose  successor.  Prince  Nicholas, 
made  him  his  chapelmaster:  For 
twenty-four  years  thereafter,  relieved 
of  material  cares  and  able  to  work 
according  to  his  own  inclination, 
Haydn  lived  in  the  palatial  residences 
of  the  Esterhazy  family  in  Vienna, 
and  in  the  provinces.  His  room,  con- 
taining his  favourite  clavier,  is  still 
shown  at  the  castle  of  Eisenstadt, 
where  a  large  collection  of  his  manu- 
script may  be  seen  among  the  ar- 
chives. During  these  years  the  com- 
poser's fame  spread  throughout  Eu- 
rope. In  1791  he  visited  London  at 
the  invitation  of  Salomon,  where  he 
was  enthusiastically  received  during 
a  sojourn  of  18  months.  There  he 
produced  the  "  SALOMON  "  SERIES 
of  symphonies,  which  won  him  the  de- 
gree Dr.  Mus.,  Oxford.  A  second 
visit  to  England  two  years  later  found 
his  popularity  still  increasing.  Re- 
turning to  Vienna,  he  conducted  a 
few  concerts,  and  then  requested  per- 
mission to  retire  to  a  little  house  in 
the  suburbs  which  Prince  Esterhazy 
had  bought  for  him  (Frau  Haydn  had 
fancied  the  place,  saying  she  would 
like  to  spend  her  widowhood  there, 
but  had  died  first) ,  and  there  he  began 
the  composition  of  "  The  Creation," 
a  work  which  occupied  him'  two  years, 
and  which  he  looked  upon  as  his 
masterpiece,  and  "  The  Seasons." 
Some  beautiful  quartets  he  wrote 
after  this  period  showed  his  creative 
genius  unimpaired,  but  his  health  had 
begun  to  fail.  His  last  appearance  in 
public  was  at  a  fgte  given  in  his 
honour  in  Vienna,  which  has  been 
quaintly  described  as  "  the  apotheosis 
of  a  man  still  living."  "The  Crea- 
tion" was  performed  with  grand  or- 
chestra, which  sounded  a  fanfare  as 
the  composer  was  carried  into  the  con- 
cert room  in  his  arm  chair.  Haydn's 
illness  was  aggravated  by  the  second 
siege  and  occupation  of  Vienna  by  the 
French  under  Napoleon.    B.  Mar.  31, 


1732;  d.  May  31,  1809.  Haydn  made 
the  following  catalogue  of  his  own 
works  in  Vienna,  Dec.  4,  1805:  118 
symphonies,  123  divertissements  for 
baryton  (an  obsolete  instrument  of 
the  viol  family  somewhat  resembling 
the  viol  da  gamba,  of  which  Prince 
Esterhazy  was  very  fond),  1  for  alto 
and  violoncello,  6  duos  and  12  sonatas 
for  baryton  and  'cello,  17  serenades  or 
nocturnes  (in  all,  163  pieces  for  bary- 
ton), 20  divertissements  for  different 
instruments  of  4  to  6  parts,  3  marches, 
21  trios  for  2  violins  and  bass,  3  trios 
for  2  flutes  and  'cello,  3  sonatas  for 
violin,   with   accompaniment  of   alto, 

3  concertos  for  violin,  3  concertos  for 
'cello,  1  concerto  for  contrabass,  2  con- 
certos for  horn,  1  concerto  for  trom- 
bone, 1  concerto  for  flute,  1  concerto 
for  organ,  3  concertos  for  clavier,  83 
string  quartets,  66  piano  sonatas,  42 
Italian  duets  and  songs  in  German  and 
English,  40  canons,  13  songs  for  3  and 

4  voices;  Church  Music,  IS  masses,  4 
offertories,  1  Salve  Regina  for  4  voices, 
I  Salve  for  organ  alone,  1  cantilena 
for  short  mass,  4  responsaria  de  vener- 
abili,  1  Te  Deum,  3  choruses;  five 
oratorios,  "The  Return  of  Tobias," 
"Stabat  Mater,"  "The  Seven  Last 
Words  of  Jesus  Christ  on  the  Cross," 
"The  Creation,"  "The  Seasons"; 
fourteen  Italian  operas:  "La  Con- 
terina,"  "L'Incontro  Improviso,"  "Lo 
Speziale,"  "  La  Pescatriee,"  "  II  Mondo 
della  Luna,"  "  L'Isola  Diaabitata," 
"L'Infidelta  Fedele,"  "La  Fedalta 
Premiata,"  "  La  Vera  Costanza,"  "  Or- 
lando Paladino,"  "Armida,"  "Acide 
e  Galatea,"  "  L'Infedelta  Delusa," 
"Orfeo";  five  operas  for  German 
marionettes :  "  Genevieve,"  "  Phile- 
mon et  Baucis,"  "  Didon,"  "  La  Maison 
Brulee,"  "Le  Diable  Boiteux";  finally, 
366  Scotch  romances,  original  and  re- 
touched, and  more  than  400  minuets 
or  allemandes.  Even  at  this  late  day 
no  complete  catalogue  of  the  master's 
works  exists,  or  it  would  be  given 
here.  Breitkopf  &  Hartel  were  engaged 
in  the  publication  of  a  complete  criti- 
cal edition  of  Haydn  during  1908,  and 
in  later  editions  of  this  encyclopedia 
their  catalogue  will  be  reproduced. 
Consult:    Pohl,  "Mozart  and  Haydn 


HAYDN  267  HECH 

in  London,"  Vienna,  1867 ;  Townsend,  tershire;  d.  July  27,  1777,  Oxford. 
"  Joseph  Haydn,"  London,  1884;  Nohl,  William,  Jr.,  wrote  "  Rules  necessary 
"  Life  of  Haydn,"  tr.  Upton,  Chicago,  to  be  observed  by  all  Cathedral  Singers 
1889.  in  this  Kingdom,"  1765;   minor  canon 

Haydn  (Johanii  ]y[icb.ael)  com-  of  St.  Paul's  and  vicar  of  Tillingham. 
posed  360  works  for  the  church,  30  B.  1741;  3d  son  of  DR.  WILLIAM; 
symphonies,  operas;  chapelmaster  to  d.  Oct.  22,  1790. 
the  Archbishop  of  Salzburg.  Like  his  Haym  (Nicole  Francesco)  adapted 
famous  brother  Joseph,  Michael  was  operas  for  English  stage  prior  to 
a  boy  chorister  at  St.  Stephen's,  Vi-  Handel's  advent;,  wrote  libretti  for 
enna,  and  sang  the  principal  soprano  Handel ;  composed  sonatas  for  violins ; 
rOles  when  Joseph's  voice  changed,  played 'cello.  B.  1679,  Rome;  d.  about 
He  was  an  organist  and  violinist,  and    1729,  London. 

early  obtained  the  post  of  deputy  or-  Haynes  (Walter  Battison),  the 
ganist  at  the  cathedral ;  but  his  cantatas  "  Fairies'  Isle "  and  a  "  Sea 
earliest  compositions  were  dated  from  Dream  "  for  female  voices,  symphony 
Hungary,  and  his  first  appointment  in  B  flat;  songs;  played  organ  Eng. 
as  chapelmaster  to  the  Bishop  of  Chapel  Royal;  pupil  Leipsie  Conser- 
Grosswardein,  1757,  Which  he  held  vatory.  B.  Nov.  21,  1859,  near  Worces- 
until  his  departure  for  Salzburg,  ter,  Eng.;  d.  Feb.  4,  1900.  London. 
When  the  French  Republicans  cap-  H  Dur.  Qer.  Key  of  B  flat  major, 
tured  Salzburg,  1800,  Haydn  lost  his  Head.  Membrane  stretched  over  a 
place  and  his  property,  but  the  Em-  drum;  that  part  of  a  note  which 
press  Maria  Theresa  gave  him  com-  marks  its  place  on  the  stave;  that 
missions,  and  he  made  a  pleasant  visit  part  of  viols  and  other  instruments 
to  his  brother  Joseph.  Prince  Ester-  in  which  the  tuning  pegs  are  placed, 
hazy  offered  to  make  him  deputy  Head-stall.  CAPISTRUM. 
chapelmaster,  but  he  declined,  hoping  Head  Voice.  Highest  register  of 
to  re-establish  his  chapel  at  Salzburg,  the  human  voice. 
in  which  he  was  disappointed.  His  Heap  (Charles  Swinnerton)_com- 
Lauda  Sion,  Missa  Hispanica,  and  the  posed  the  cantatas  "  Fair  Maid  of 
masses  composed  for  the  Empress  were  Astolat,"  "  The  Voice  of  Spring," 
his  best  known  works,  and  Joseph  de-  "  Fair  Rosamund,"  overtures,  chamber 
dared  his  brother's  church  music  bet-  music ;  played  piano ;  conducted 
ter  than  his  own.  B.  Rohrau,  Sept.  Wolverhampton  Festivals.  B.  April 
14,  1737;    d.  Aug.  10,  1806.  10,  1847,  Birmingham,  Eng.;   d.  June 

Hayes    (Catherine)    sang   sop.   in    n,  1900,  Birmingham, 
opera  and  concert;    debut,  1841,  Dub-        Heather    (Dr.    William)    founded 
lin;   later  touring  the  world  and  mak-    a    lectureship    in    music    at    Oxford; 
ing  a  fortune.    B.  Oct.  25,  1825,  Lim-    sang   Eng.    Chapel  Royal.     B.   1584, 
erick,   Ireland;     m.   W.  A.   Bushnell,    Middlesex,  Eng.;    d.  1627. 
1857;    d.  Aug.  11,  1861,  Sydenham.  Hebenstreit  (Pantaleon)  invented 

Hayes  (Dr.  Philip)  composed  an-  and  played  the  large  dulcimer  named 
thems,  an  oratorio,  the  masque  "  Tele-  Pantaleon  at  the  suggestion  of  Louis 
machus,"  songs;  played  organ  at  vari-  XIV,  which  Schroeter,  who  falsely 
ous  Oxford  churches  and  colleges  and  claimed  to  have  invented  the  piano, 
taueht  music  in  the  University;  in  modelled  his  instruments  on.  B.  1667, 
early  life  sang  in  Eng.  Chapel  Royal.  Eisleben;  d.  Nov.  15,  1750,  Dresden. 
B  April  1738;  son  of  DR.  WIL-  Hebrides.  Name  of  Felix  Mendels- 
LIAM;    d.  Mar.  19,  1797.  sohn's    Concert    overture.    No     2     b 

Maves  CDr  William)  composed  minor,  Op.  26,  also  called  l«e  ein- 
prEf^canonfor  the  Loidon  Catch  same  Insel,"  and  « Fingals  Hohle." 
Club-  cXedral  services;  played  or-  Hech  (John  Caspar)  wrote  on  har- 
SnWor^ster  Cathedral ;  conducted  mony,  thoroughbass,  and  harpsichord 
^orc^?erFestival;  taught  music  at  playing.  Publications  dated  London, 
Oxford  University.    B.  1706,  Worces-    1768-93. 


HECHT 


268 


HELLINCK 


Hecht  (Eduard)  composed  the 
chorus  "  Charge  of  the  Light  Brigade," 
"  Eric  the  Dane,"  and  other  part 
songs ;  lectured  on  theory,  Owens  Col- 
lege; conducted.  B.  Nov.  28,  1832, 
Durkheim,  Haardt;  d.  Mar.  7,  1887, 
Manchester. 

Heckmann(GeoTg  Julius  Kobert) 
organised  the  Heck  string  quartet, 
1875,  in  which  he  played  first  violin. 
B.  Nov.  3,  1848,  Mannheim;  d.  Nov. 
29,  1891,  Glasgow. 

Hedgeland  (William)  built  organs 
in  England  from  1851. 

Heermann  (Hugo)  foimded  the 
Frankfort  string  quartet,  in  which  he 
played  first  violin;  taught  violin 
Frankfort  Hoeh  Conservatory.  B. 
Mar.  3,  1844,  Heilbronn;  add.  Frank- 
fort. 

Eeftig.  Ger.  Impetuous,  boister- 
ous. 

Heidegger  (iToIin  Tames)  managed 
London  opera,  1708-34,  for  a  time  in 
partnership  with  Handel;  immortal- 
ized for  his  ugliness  by  Pope  in  the 
"  Duneiad."  Probably  b.  Flanders ; 
settled  in  London,  1707. 

Heigbington  (Dr.  Musgrave) 
composed  music  for  the  pantomime 
"The  Enchanter,"  published  in  Dub- 
lin, "Six  Select  Odes."  B.  1680;  d. 
1774,  Dundee. 

Heil  Dir  Im  Siegerkranz.  Hein- 
rich  Harries'  national  song,  written 
for  the  birthday  of  Christian  VII  of 
Denmark,  and  modified  for  use  in 
Prussia  by  B.  G.  Schumacher,  was 
sung  to  the  tune  "  GOD  SAVE  THE 
KING." 

Heimcben  am  Herd.  German 
name  of  Carl  Goldmarl^'s  opera,  better 
known  in  the  English  version  as 
"CRICKET  ON  THE   HEARTH." 

Eeimkebr  aus  der  Fremde.  Felix 
Mendelssohn's  operetta,  to  book  by 
Klingeman,  was  performed  at  the  sil- 
ver wedding  of  his  parents,  Dec.  26, 
1830.  _ 

Heinefetter  (Sabina)  sang  sop.  in 
opera  at  Frankfort,  Cassel,  and  Paris ; 
debut  1825;  retired  1842.  B.  Aug. 
19,  1809;  m.  M.  Marquet,  Marseilles; 
d.  Nov.  18,  1872.  Clara  became  a 
well  known  opera  singer  in  Vienna 
as  Mme.  StBckl-Heinefetter.    B.  Feb. 


17,1816;  sister  of  SABINA;  d.  1857; 
Katbinka  sang  in  opera  with  success, 
Paris  and  Brussels.  B.  1820;  sister 
of  SABINA;    d.  Dec.  20,  1858. 

Heinicben  (Johann  David)  com- 
posed 15  masses,  three  Requiems,  133 
sacred  works,  "  Calfurnia,"  "  Pas- 
sione  per  troppo  amore,"  and  four 
other  operas ;  conducted  opera ;  wrote 
"  Der  Generalbass  in  der  Composi- 
tion." B.  April  17,  1683,  near  Weis- 
senfels;    d.  July  16,  1729,  Dresden. 

Heinze  (Gustav  Adolph)  com- 
posed the  opera  "  Loreley,"  Breslau, 
1844;  "Die  Ruinen  von  Tharandt," 
the  oratorios  "  Sancta  Cecilia,"  "  Die 
Auf erstehnung  " ;  conducted  German 
opera  at  Amsterdam.  B.  Oct.  1,  1820, 
Leipsic;    add.  Amsterdam. 

Heiter.     Oer.    Calm,  clear. 

Heldeuleben.  Richard  Strauss's 
tone  poem  for  orchestra.  Op.  40,  was 
first  performed,  1899,  at  Frankfort. 

Helene.  Camille  Saint-Saens'  one- 
act  opera  to  his  own  book  was  first 
performed  Feb.  18,.  1904,  at  Monte 
Carlo. 

Helicon.  Bass  brass  instrument 
used  in  military  bands;  stringed  in- 
strument employed  by  ancient  Greeks 
in  determining  intervals. 

Hellendaal  (Fieter)  won  a  Catch 
Club  prize  in  London,  1752 ;  published 
his  collection  of  psalms,  1780;  played 
violin;  pupil  of  Tartini.  B.  probably 
at  Amsterdam. 

Heller  (Stephen)  composed  useful 
studies  for  pianists,  four  solo  con- 
certos, five  tarantellas;  played  admir- 
ably though  rarely  at  London  and 
Paris  concerts;  taught  piano  with 
great  success;  pupil  of  Halm,  Vienna. 
Heller's  compositions  with  the  excep- 
tion of  "  Pensees  fugitives,"  composed 
with  Ernst  for  violin  and  piano,  and 
entirely  for  the  latter  instrument,  and 
were  praised  by  Schumann.  B.  May 
15,  1815,  Pesth;  d.  Jan.  14,  1888, 
Paris. 

Hellinck  (Joannes  Lupus)  com- 
posed masses,  German  part  songs,  26 
songs  in  French,  three  in  Flemish; 
choirmaster  at  Bruges  and  Cambrai. 
Palestrina  used  some  of  his  themes  in 
his  mass  "  Panis  quern  ego  dabo."  B. 
Flanders;    d.  1541,  Cambrai. 


EELLMESBEBGER  269 

Eellmesberger  (Georg)  composed 
for  violin;  conducted  Imperial  Vienna 
opera;  taught  in  Vienna  Conserva- 
tory, having  as  pupils  Ernst,  Joachim, 
Hauser,  Auer,  and  his  son  Joseph; 
pupil  of  the  Gesellschaft  der  Musik- 
freunde,  Vienna.  B.  April  24,  1800. 
d.  Aug.  16,  1873,  Neuwaldegg.  Georg, 
Jr.,  composed  the  operas  "  Die  Burg- 
scaft "  and  "  Die  beide  KSniginnen," 
produced  at  Hanover,  where  he  was 
conoertmeister.  B.  Jan.  27,  1830, 
Vienna;  son  of  GEORG;  d.  Nov.  12, 
1852.  Joseph  became  chapelmaster 
to  the  Emperor  of  Austria,  1877; 
played  violin ;  brought  out  Beethoven's 
chamber  music  in  his  string  quartet; 
directed  Vienna  Conservatory;  Cheva- 
lier of  the  Legion  of  Honor.  B.  Nov. 
23,1829;  son  of  GEORG;  d.  Oct.  24, 
1893.  Joseph,  composed  the  operettas 
"  Kapitan  AhlstrBm,"  "  Der  Graf  von 
Gleichen,"  "  Der  schone  Kurfttrst," 
"  Rikiki,"  "  Das  Orakel,"  "  Der  bleiche 
Gast,"  six  ballets;  chapelmaster  Vi- 
enna Imperial  Opera,  1886;  played 
violin;  taught  in  Vienna  Conserva- 
tory. B.  April  9,  1855,  Vienna;  son 
of  JOSEPH;    add.  Vienna. 

Helmholtz  (Hermann  Ludwig 
Ferdinand)  wrote  valuable  scientific 
works,  of  which  the  most  famous  re- 
lating to  music  is  known  in  Eng. 
trans,  as  "  On  the  Sensations  of  Tone 
as  a  physiological  basis  for  the  The- 
ory of  Music,"  1863,  which  is  the 
foundation  of  modern  acoustics,  al- 
though Riemann  and  others  have 
attacked  the  theories  advanced.  He 
was  the  inventor  of  a  double  har- 
monium with  24  vibrators  to  the  oc- 
tave, in  which  he  avoids  the  dissonant 
thirds  and  sixths  of  equal  tempera- 
ment, and  provides  on  a  single  manual 
for  modulation  into  all  keys.  A  phy- 
sician in  early  life,  Helmholtz  held 
professorships  in  science  at  several 
German  universities,  and  in  1877  be- 
came rector  of  the  University  of  Ber- 
lin. B.  Aug.  31,  1821,  Potsdam;  d. 
Sept.  8,  1894,  Berlin. 


HENRY  VIII 

Hemldemisemiquaver.    64th  note. 

Hemidiapente.     Diminished  fifth. 

Hemiditone.     Minor  third. 

Hemiolios.  Qr.  Sesquialtera ;  the 
proportion  of  two  to  three;  a  perfect 
fifth;    triplet;    quintuple  time. 

Hemiope.  Greek  flute  with  three 
holes. 

Hemitone.     Semitone. 

Hempson  (Denis)  played  the  Irish 
harp,  and  was  one  of  the  ten  bards 
who  took  part  in  the  gathering'  at 
Belfast,  1792,  highly  esteemed  in  Scot- 
land as  well  as  Ireland.  At  the  age 
of  three  he  became  blind,  the  effect  of 
smallpox,  but  studied  harp  at,  12  under 
the  best  Connaught  harpists.  B.  1695, 
Craigmore,  County  Londonderry;  d. 
1807,  Magilligan,  Londonderry. 

Henley  (Bev.  Fhocion)  composed 
chants,  anthems,  and  hymns;  rector 
of  St.  Anne's,  Blackfriars.  B.  1728, 
Wiltshire,  Eng.;  d.  Aug.  29,  1764, 
London. 

Henneberg  (Johann  Baptist) 
composed  "  Der  Derwische  "  and  other 
operettas;  conducted;  organist  to  the 
court  at  Vienna.  B.  Dec.  6,  1768; 
d.  Nov.  27,  1822. 

Henrique.  William  M.  Rooke's 
three-act  opera,  to  book  by  T.  J. 
Haines,  was  first  performed  May  2, 
1839,  at  Covent  Garden,  London. 

Henry  VIII.  Camille  Saint-Saens' 
four-act  opera,  to  book,  by  Lfionce  Dfr 
troyat  and  Armand  Sylvestre,  was 
first  performed  Mar.  5,  1883,  at  Paris. 
The  action  begins  with  the  passion 
of  the  King  for  Anne  Boleyn,  and 
when  he  plans  his  divorce  from  Queen 
Catherine.  Anne  loves  and  is  loved 
by  the  Spanish  Ambassador,  Don 
Gomez,  and  Queen  Catherine  holds,  a 
letter  in  which  Anne  acknowledges 
her  attachment,  but  none  the  less 
the  Queen  permits  herself  to  be  dis- 
placed in  favour  of  her  erstwhile  maid 
of  honour.  The  imposing  scene  in 
which  Henry  defies  the  Pope,  pro- 
claims himself  head  of  the  English 
Church,  and  proclaims  Anne  Bolejfn 


Helmore  (Rev.  Thomas)  composed  'Queen  closes  the  third  act.  The  final 
hymns;  wrote  and  edited  works  on  act  takes  place  before  the  deathbed  of 
plain-song;  master  of  choristers,  Eng.  Catherine.  Anne  has.  gone  to  reclaim 
Chapel  Royal.  B.  May  7, 1881,  Kidder-  her  letter,  but  Catherine  throws  it  into 
minster;    d.  July  6,  1890,  London.         the  fire,  and  as  she  dies  a  dead  march  is 


HENSCHEL  3'J'O  HEBBST 

heard,  foreshadowing  the  fate  of  Anne,    of  Hummel.    B.  May  12,  1814,  Schwa- 
The  leit-motif  has  been  employed  by    bach,     Bavaria;     d.     Oct.     10,     1889, 
the  composer  in  this  work,  which  is  a    Warmbriinn,  Silesia, 
music-drama  rather  than  an  opera.  Henstridge  (James)  composed  an- 

Henschel  (Isidor  Georg)  composed  thems  and  five  MSS.  songs;  played 
the  opera  "Nubia,"  Dec.  9,  1899,  organ  Dulwich  College,  1698-1703. 
Dresden,  a  Stabat  Mater  for  soli.  Heptachord.  Instrument  having 
chorus,  and  orchestra,  Te  Deum,  Re-  seven  strings;  interval  of  a  seventh; 
quiem,  Boston,  1903;  incidental  music  Greek  scale  of  seven  tones. 
for  Hamlet,  Ballade  in  F  sharp  minor  Heptinstall  (John)  published  mu- 
for  violin  and  orchestra.  Psalm  cxxx  sic  in  London,  1690-1713. 
for  soli,  chorus,  and  orchestra,  and  Herabstrich.  Oer.  Down  bow. 
numerous  songs,  many  of  which  are  Herbeck  (Johann)  composed  sym- 
of  great  beauty;  sang  bar.  in  con-  phony  in  D  minor  for  full  orchestra 
cert  with  great  success,  giving  sue-  and  organ,  grand  mass  in  E,  Te  Deum, 
cessful  recitals  with  his  wife;  con-  and  other  church  music;  Imperial 
ducted  Boston  Symphony  Orchestra,  chapelmaster  at  Vienna,  1866;  direc- 
1881-84;  founded  the  London  Sym-  tor  court  qpera,  1870,  and  of  many 
phony  concerts,  which  he  conducted  Viennese  societies;  Chevalier  of  the 
11  years;  taught  singing  at  the  Royal  Iron  Crown.  B.  Dec.  25,  1831,  Vi- 
College  of  Music,  1886-88.  Pupil  of  enna;  d.  Oct.  28,  1877. 
the  Leipsic  Conservatory,  1867-70,  Herbert  (Victor)  composed  the 
under  Moscheles,  Reinecke,  Richter,  successful  comic  operas  "  Prince  An- 
Goetze,  and  Papperitz,  Mr.  Henschel  anias,"  "The  Wizard  of  the  Nile," 
developed  into  one  of  the  most  cul-  "  The  Serenade,"  "  The  Idol's  Eyes," 
tured  musicians  of  his  generation.  B.  "  The  Fortune  Teller,"  "  The  Ameer," 
Feb.  18,  1850,  Breslau;  add.  London.  "Cyrano  de  Bergerac,"  "The  Singing 
liillian  June  Bailey  became  one  of  Girl,"  "Babes  in  Toyland,"  ".Babette," 
the  most  popular  of  concert  sopranos ;  "  It  Happened  in  Nordland,"  and  "  Al- 
pupil  of  Mine.  Viardot-Garcia,  later  geria,"  1908;  serenade  for  strings, 
of  GEORG  HENSCHEL,  whom  she  the  symphonic  poem  "Hero  and  Le- 
married,  1881.  B.  Jan.  18,  1860,  Co-  ander,"  and  many  songs;  played  'cello 
lumbus,  Ohio;  d.  Nov.  4,  1901,  Lon-  and  conducted.  Herbert's  mother,  a 
don.  Helen  sang  sop.  but  retired  on  daughter  of  Samuel  Lover,  took  him 
her  marriage  to  W.  Onslow  Ford,  to  Stuttgart  in  boyhood,  where  he 
Daughter  of  Georg  and  LILLIAN  was  a  pupil  in  the  Conservatory.  He 
JUNE  BAILEY  HENSCHEL.  devoted  himself  to  the  'cello,  and  in 

Hensel  (Fanny  Cecile)  was  the  due  time  was  admitted  to  the  court 
teacher  of  her  celebrated  brother  Felix  orchestra.  His  wife,  Therese  Foster, 
Mendelssohn-Bartholdy,  and  herself  a  having  been  engaged  at  the  Metropoli- 
gifted  pianist  and  composer.  ^ix  tan  Opera,  Herbert  accompanied  her 
songs  and  many  piano  pieces  testify  to  New  York,  1886,  where  he  was  made 
to  her  skill  in  composition.  Mendels-  1st  'cellist,  afterwards  becoming  as- 
sohn,  whose  reliance  upon  her  judg-  sistant  conductor  to  Seidl  and  Thomas, 
ment  was  not  less  remarkable  than  He  was  bandmaster  of  the  22d  Regi- 
his  devotion  for  her,  declared  she  ment,  1894r-98,  when  he  became  con- 
played  piano  better  than  he  could,  ductor  of  the  Pittsburgh  Symphony 
B.  Nov.  14,  1805,  Hamburg;  m.  W.  H.  Orchestra,  returning  to  New  York  at 
Hensel,  the  painter,  1829;  d.  May  17,  the  end  of  his  engagement,  in  the 
1847.  spring  of  1904.    B.  Feb.  8,  1859,  Dub- 

Henselt,  von  (Adolf),  composed  a  lin;  add.  New  York, 
piano  concerto  in  F  minor,  Op.  16,  Herbst  (Johann  Andreas)  corn- 
two  sets  of  twelve  Etudes;  played  posed  madrigals  and  sacred  music; 
piano  with  remarkable  skill ;  court  wrote  "  Musiea  Poetica "  and  other 
pianist  and  teacher  of  the  Imperial  theoretical  works.  B.  1588,-  Nurem- 
family,   St.   Petersburg,   1838;    pupil    berg;    d.  1666,  Frankfort. 


HEBCtTLES 


271 


SEKVt 


Hercules.  George  Frederic  Han- 
del's oratorio,  to  book  by  Rev.  Thomas 
Broughton,  was  first  performed  Jan. 
5,  1745,  at  the  Haymarket,  London, 
as  oratorio,  although  it  had  been  orig- 
inally announced  as  a  musical  drama. 

Hereford  Festival.  Is  better 
known  as  the  THREE  CHOIRS  fes- 
tival. 


Boieldieu  invited  him  to  collaborate  in 
"  Charles  de  France,"  and  the  success 
of  this  operatic  work  enabled  himself 
to  produce  "LesRosieres,"  1817,  which 
proved  a  success.  Ballets,  piano  com- 
positions, operas  followed  in  quick 
succession,  and  his  energies  found 
further  outlet  in  the  posts  of  chorus- 
master  at  the  Italian  Opera,  and  later 


Herman  (Nicholas)  composed  both  as    Chef    du    Chant    at    the    Grand 

words  and  music   of   "  Erdchienenist  Op6ra.    In  1827  he  received  the  Legion 

der   herrUch   Tag,"   "Lobt   Gott,   ihr  of  Honor.     In   1832   his  masterpiece 

Christen     alle     gleich,"     and     other  (if  the  judgment  of  his  countrymen 

chorales;     cantor    Joachimsthal,    Bo-  be  accepted),  "Pre  aux  Clercs,"  was 

hernia.     B.   about   1485;     d.   May  3,  presented,  and  the  following  year  his 

1561'  career    was    ended    by    consumption. 


Hermann  (Matthias)  was  called 
from  his  birthplace  WERRECOREN- 
SIS. 

Hermann  (Kbeinhold  L.)  com- 
posed "  Vineta,"  Breslau,  1895;  "  Wul- 
frin,"  Cologne,  1896,  and  other  operas; 
directed  Sterns  Conservatory,  Berlin, 
1878-81;  New  York  Liederkranz, 
1887;  taught  sacred  history.  Theo- 
logical Seminary;  conducted  Boston 
Handel  and  Haydn  Society,  1898; 
settled  in  Berlin,  1900;  pupil  Stern 
Conservatory.  B.  Sept.  21,  1849, 
Brandenburg;    add.  Berlin. 

Herodiade.  Jules  Massenet's  four- 
act  opera,  to  book  by  Paul  Millet  and 
Henri  Gr€mont,  was  first  performed 
Dec.  19,  1888,  at  the  Theatre  de  la 
Monnaie,  Brussels.  , 

H6rold(Iiouis  Joseph  Ferdinand) 


Other  works  to  be  noted  are:  the 
operas  "La  Clochette,"  "  Le  premier 
venu,"  "Les  Troqueuers,"  "L' Amour 
platonique,"  "L'Auteur  mort  et  vi- 
vant,"  "Le  Muletier,"  " L'Asthenie," 
"  Le  Lapin  Wane,"  "  VendOme  en  Es- 
pagne,"  "Le  Roi  Ren6,"  "Marie," 
"  L'lllusion,"  "Auberge  d'Aurey" 
(with  Carafa),  "La  Marquise  de 
Brinvilliers  "  (with  Auber,  Boieldieu, 
Cherubini,  etc. ) ,  "  Emmeline,"  "  Ludo- 
vic"  (completed  by  Halfivy) ;  the 
ballets  "  La  Sonnambule,"  which  sug- 
gested the  opera  of  the  same  title 
to  Bellini,  "Astolphe  et  Joconde," 
"  Lydie,"  "  La  Fille  mal  gardfie,"  "  La 
Belle  au  bois  dormant."  See  biog- 
raphy by  Jouvin.  B.  Jan.  28,  1791, 
Paris;  d.  Jan.  19,  1833,  Paris. 
Herringham    (Henry)    published 


composed  "  ZAMPA,"  "  Le  PRE  AUX    music  in  London,  1650-89. 


CLERCS,"  and  many  other  once 
highly  popular  operas.  Harold's 
father,  who  had  been  a  pupil  of 
C.  P.  E.  Bach,  was  his  first  teacher. 
He  learned  solfege  under  F€tis,  con- 
tinued his  piano  studies  with  Louis 
Adam;  became  a  student  at  the  Paris 
Conservatoire,  1806,  where  his  masters 
were  Catel  and  Mfihul,  and  in  1812 
won  the  prix  de  Rome  with  his  can- 
tata "  Mile,  de  la  Balligre."  While  in 
Rome  he  composed  a  "Hymne  9.  4 
voix  sur  la  Transfiguration  "  with  or 


Herschel  (Sir  Frederick  Wil- 
liam, D.  C.  Ii.)  composed  a  symphony 
and  two  military  concertos  for  wind 
instruments;  played  oboe  and  organ 
for  a  livelihood  before  distinguishing 
himself  aa  an  astronomer.  B.  Nov. 
15,  1738,  Hanover;  settled  in  Eng- 
land, 1757;   d.  Aug.  23,  1822,  London. 

Hertz  (Alfred)  conducted  (German 
opera  at  the  Metropolitan  opera  house, 
1902-8,  New  York;  prior  to  which 
engagement  he  had  been  conductor  at 
Breslau  and  assistant  at  several  Ger- 


chestra,  symphonies  in  C  and  D,  and    man  opera  houses;    pupil  of  Raff.    B, 


quartets  in  D,  C,  and  G  minor.  Then 
he  became  pianist  to  the  Queen  of 
Naples,  and  while  in  that  city  com- 
pleted his  first  opera,  "  La  jeunesse 
de  Henri  V."    On  his  return  to  France 


July   '15,     1872,    Frankfort-on-Main; 
add.  New  York. 

Herv€  (Florimond  Bonger)  com- 
posed "Ma'amzelle  Nitouche,"  "La 
Cosaque,"  "Le  Petit  Faust,"  and  in 


HERVEY                      272  HEUGEL  ET  CIB 

all  more  than  50  French  operettas,  the  Hesdin  (Pierre)  composed  masses 

English  operetta   "  Aladdin  the   Sec-  and  motets  sung  by  the  Sistine  Choir; 

ond,"  and  the  heroic  symphony  "  The  chansons ;     singer    to    Henry    II    of 

Ashantee  War,"  which  he  produced,  France,  16th  century. 

1874,  while  conducting  promenade  con-  Heseltine   (tTames)   composed  an- 

certs  in  London.    In  early  life  HervS  thems;    played  organ  Durham  Cathe- 

was    librettist,    actor,    singer,    scene  dral ;   pupil  of  Dr.  Blow.    D.  June  20, 

painter,  and  manager,  as  well  as  com-  1763,  Durham. 

poser    and    conductor.      His     "  Don  Hess-Sohroeder  Quartette  was  or- 

Quixote,"    1848,    was    an    immediate  ganized  in  the  summer  of  1908,  to  give 

success,   and  launched  him  as  come-  chamber  music  concerts,  by  WILLY 

dian  and  composer  as  well.     B.  June  HESS,  first  violin;    A.  THEODORO- 

30,    1825,   Houdain,   near  Arras;     d.  WICZ,  second  violin;    LIONEL  TIR- 

Nov.  4,  1892,  Paris.  TIS, viola,  and  ALWYN  SCHROBDER, 

Hervey  (Arthur)  composed  the  'cello.  A  stronger  personnel  could  not 
operetta  "  The  Fairy's  Post-Box,"  the  have  been  assembled.  Hess  was  con- 
symphonic  poems  "  On  the  Heights,"  certmeister  of  the  BOSTON  SYM- 
"On  the  March,"  "In  the  East,"  songs,  PHONY  ORCHESTRA,  Theodorowicz 
the  overture  "  Youth  " ;  wrote  music  had  played  violin  with  the  same  or- 
criticism  "  Vanity  Fair,"  1889-92,  ganization  and  with  the  Kneisel  Quar- 
then  in  London  "Morning  Post";  wrote  tette,  Tirtis  had  been  viola  of  the 
"  French  Music  in  the  19th  century,"  BOHEMIAN  QUARTETTE,  and 
etc.  B.  Jan.  26,  1855,  Paris  (of  Irish  Schroeder  for  many  years  'cellist  of 
parentage)  ;    add.  London.  the  Boston  Symphony  orchestra  and 

Herz  (Heinricli)  composed  eight  the  Kneisel  Quartette.  These  gentle- 
concertos  and  in  all  more  than  200  men  planned  to  make  Boston  their 
piano  pieces;  played  piano  in  concert,  headquarters,  and  began  rehearsals  in 
touring  America,  1845-51;  taught  June  for  their  first  season,  1908-9. 
piano  at  the  Paris  Conservatoire,  Hess  CWilly)  became  eoncertmeister 
1842-74,  where  he  had  been  a  pupil  Boston  Symphony  Orchestra,  1904-7, 
of  Pradher;  manufactured  pianos;  again,  1908;  pupil  of  Spohr  and  Jo- 
wrote  "  Mes  voyages,"  Paris,  1866.  B.  achim;  toured  America  with  TTiomas 
Jan.  6,  1806,  Vienna;  d.  Jan.  5,  1888,  as  violin  virtuoso,  1868;  later  founded 
Paris.  string  quartet  in  Frankfort;    led  Sir 

Herz,    ]V[ein    Herz,    Warum    So  Charles    Hajle's    Manchester    Orohes- 

Traurig  was  composed  by  J.   L.  F.  tra;    taught    in   Royal    Academy   of 

Gluck,  a  German  clergyman  who  flour-  Music,    London.     B.    July    14,    1859, 

ished   1793-1840,  to  words  by  J.  R.  Mannheim;    add.   Boston. 

Wyss,  Jr.  Hesse    (Adolph   Eriedrich)    com- 

Herzog    (Jobatui    Georg)    played  posed   organ   music;     played   organ; 

organ;    taught  Munich  Conservatory  conducted  Breslau  Symphony  Orches- 

and     Erlanger     University,     directed  tra.     B.  Aug.  30,   1809,  Breslau;    d. 

Singakademie    in    latter    city;    com-  Aug.  5,  1863. 

posed  organ  fantasias   and  preludes.  Heuberger   (Richard   Franz   Jo- 

B.   SchmSlz,  Bavaria,  Sept.  6,  1822;  seph)     composed     "Miriam,"     "Das 

add.  Munich.  Maifest,"    Vienna,    1904,    and    other 

Herzogenberg,  von  (Baron  Hein-  operas,    ballets ;     conducted    Vienna 

rich),  composed  the  symphony  "  Odys-  Singakademie;  wrote  music  criticism; 

seus,"  the  cantata  "  Columbus,"  church  edited   "  Neue   Musikalische   Presse," 

and  chamber  music;    taught  theory,  1904.     B.  June  18,  1850,  Graz;    add. 

Berlin  Hochschule ;  pupil  Vienna  Con-  Vienna. 

servatory.     B.  Graz,  Siiyria,  June  10,  Heugel  et  Cie.  published  music  in 

1843;    d.    Oct.    9,    1900,    Wiesbaden.  Paris.     The   house   was    founded  by 

Elizabeth  Stockhausen  played  piano.  Jacques   Leopold   Heugel    (1815-83), 

B.  1848;    m.  HEINRICH;    d.  Jan.  7,  upon  whose  death  its  management  de- 

1892,  San  Remo.  volved  upon  Henri,  his  son.    In  1891 


KEXACHOBD 


373 


HILLKR 


Paul  Chevalier  Heugel  was  admitted 
to  the  firm.  "  Le  Mfinestrel  "  was  es- 
tablished by  the  elder  Heugel,  1834. 

Hexachord.  Qr.  Scale  of  six 
tones ;     a   sixth. 

Hey  de  Guise.  Country  dance  in 
9-4  time. 

Hiawatha.  S.  Coleridge  Taylor's 
setting  of  an  adaptation  of  Long- 
fellow's poem  was  first  given  in  com- 
plete form  Mar.  22,  1900,  by  the  Royal 
Choral  Society  of  London. 

Hibemian  Catch  Club  was  founded 
in  1679  by  the  vicars  choral  of  St. 
Patrick's  and  Christ  Church  Cathe- 
drals, Dublin,  for  the  cultivation  of 
vocal  music;  still  gave  concerts  in 
1908  and  was  the  oldest  of  surviving 
musical  organizations  in  the  world. 

Hickford's  Boom  was  the  scene  of 
many  famous  London  concerts  from 
1713  to  1775.  In  1765  Mozart,  then 
eight  years  of  age,  played  there  with 
his  sister,  aged  13.     ' 

Hidden  Fifths  and  Octaves.  Im- 
plied or  imaginary  consecutives  re- 
sulting from  the  progression  by  skip 
of  fifths  or  octaves.  The  old  contra- 
puntal theory  forbade  consecutive  oc- 
taves because  it  wasted  one  part,  and 
fifths  because  of  the  change  of  key 
produced,  but  the  rule  was  directed 
against  the  movement  of  the  inner, 
not  of  the  extreme  parts,  and  was 
never  rigidly  enforced,  and  is  now 
obsolete. 

Highland  Fling  is  danced  to  the 
music  of  the  Strathspey,  4-4  time, 
and  takes  its  name  from  a  peculiar 
kicking  step  or  "  fiing." 

High  Mass.  MASS  which  is  sung 
throughout,  as  distinguished  from  Low 
Mass,  which  is  said.  In  Latin,  Missa 
Solemnis. 

Hildebrand  (Zacherie)  built  or- 
gans in  Germany.  B.  1680;  d.  1743. 
Johann  Michael  built  the  organ  at 
St.  Michaels,  Hamburg,  which  cost 
$20,000.     Son  of  ZACHERIE. 

Hiles  (Dr.  Henry)  composed  the 
oratorios  "  David,"  "  The  Patriarchs," 
church  music,  the  operetta  "War  in 
the  Household,"  songs,  organ  and 
piano  music;  taught  Manchester  Col- 
lege of  Music;  played  organ;  edited 
"Quarterly  Musical  Review";   wrote 


on  theory.  B.  Dec.  31,  1826,  Shrews- 
bury; d.  Oct.  20,  1904,  Worthing. 
John  composed;  played  organ;  wrote 
text  books  and  a  dictionary.  B. 
Shrewsbury,  1810;  elder  brother  of 
DR.  HENRY;  d.  Feb.  4,  1882,  London. 

Hill  (Henry)  played  viola;  a 
founder  of  the  London  Beethoven 
Quartet  Society.  B.  July  2,  1808, 
London;    d.  June  11,  1856,  London. 

Hill  (Joseph)  made  violins  in  Lon- 
don; published  harpsichord  music. 
B.  1715;  d.  London,  1784.  The  family 
has  continued  to  make  instruments 
ever  since,  the  house  of  W.  E.  Hill 
&  Sons  being  composed  of  his  de- 
scendants. 

Hill  (Thomas  H.  Weist)  played 
violin  with  success  in  European  and 
American  tours;  conducted  London 
operas  and  concerts ;  became  principal 
Guildhall  School  of  Music,  London, 
1880.  B.  Jan.  23,  1828,  London;  d. 
Dee.   25,   1891. 

Hill  (W.  &  Son)  built  organs  in 
England.  The  house  was  founded  1755 
by  John  Snetzler,  passed  to  his  fore- 
man Ohrmann,  thence  by  marriage  to 
William  Hill. 

Hillemacher  (P.  L.)  was  the  sig- 
nature assumed  in  collaborating  by 
the  brothers  Paul  and  Lucien  Hille- 
macher, who  composed  the  lyric  drama 
"Orsola,"  Paris  Grand  Op6ra,  1902, 
"  Circe,"  and  other  dramatic  works. 
Natives  of  Paris,  both  entered  the 
Conservatoire  and',  both  captured  the 
prix  de  Rome,  Paul,  1876,  Lucien, 
1880.  "Loreley,"  a  symphonic  legend, 
their  first  joint  work,  was  produced, 
1882,  capturing  the  grand  prize  of  the 
city  of  Paris.  "  Saint-M6g^in,"  their 
first  opera,  was  given  at  Brussels, 
1886.  The  pantomime  "  One  for  Two," 
London,  and  the  lyric  play  "  Le  Drac  " 
followed,  with  many  songs,  choral 
works,  and  compositions  for  orchestra. 
Paul,  b.  Nov.  25,  1852;  Lucien,  June 
10,  1860;    add.  Paris. 

Hiller  (Ferdinand)  composed  the 
operas  "Romilda,"  "Conradin," 
"  Traum  in  der  Chriatnacht,"  the  ora- 
torio "  Die.  ZerstSrung  Jerusalems," 
three  symphonies,  five  piano  quartets, 
24  piano  Etudes,  sonatas  for  piano 
alone  and  with  violin  and  'cello;   five 


18 


HILLER                      Sr^:  HIS  MAJESTY 

string   quartets;    organized   and   di-  Hime  (Humphrey)  published  mu- 

rected  the  Cologne  Conservatory,  1850-  sic  in  Liverpool,  Eng.,  with  his  brother, 

85;    conducted  the  Lower  Ehine  Fes-  1790  to  1805,  when  he  was  succeeded 

tivals  when  held  in  Cologne.     Hiller  by  his  son.     About   1870  Heniy  Lee 

was  able  to  play  a  Mozart  concerto  succeeded  to  the  business, 

for  violin  at  ten.     Later  he  studied  Himmel    (Friedrioh    Heinrich) 

with  Hummel,  with  whom  he  visited  composed    the    opera    "  Alessandro," 

Beethoven  shortly  before  that  master's  1798,  for  which  the  Russian  Emperor 

death,    gave    important    concerts    in  gave   him   6000   roubles,   "Fanchon," 

Paris,    and   became    the   intimate    of  his  masterpiece,  to  book  by  Kotzebue, 

Rossini,     Cherubini,     Chopin,     Liszt,  church  and  piano  music;    chapelmas- 

Meyerbeer,  and  Mendelssohn,  who  pro-  ter  to  the  Prussian  court.     B.  Nov. 

duoed  the  oratorio  mentioned,  1840,  at  20,    1765,   Brandenburg;     d.   June  8, 

the  Gewandhaus;    and  of  Schumann.  1814,  Berlin. 

Hiller  wrote  recollections  of  Mendels-  Hinaufstrioh..     Ger.    Up  bow. 

Bohn,  many  articles  of  the  periodical  Hindle    (John)    composed    songs; 

press,  and  an  instruction  book  in  bar-  lay    vicar    Westminster    Abbey.    '  B. 

mony  and  counterpoint.     B.  Oct.  24,  1761_,  Westminster;    d.  1796. 

1811,  Frankfort-on-Main;    d.  May  12,  Hine     (William)     composed     an- 

1885.  thems;    played  organ  Gloucester  Ca- 

Hiller    (Jobanix    Adam)    revived  thedral.      B.    1687,    Oxfordshire;     d. 

and  conducted  the   Leipsic   concerts,  Aug.  28,  1730,  Gloucester, 

which    became    famous    as    the    GE-  Hingston    (John)    became    organ- 

WANDHAUS     CONCERTS;     practi-  ist   to   Cromwell   during  the  Protec- 

cally  created  the  form  of  comic  opera  torate  at  $500  per  annum,  and  taught 

in  German  called  "  Singspiel,"   com-  the  Protector's  daughters.     D.  1683, 

posing  30  works  of  that  type,  of  which  London. 

"  Die  Jagd,"  1771,  still  holds  its  place  Hinton    (Arthur)   composed  sym- 

in  the  theatre.     While  a  law  student  phonies  in  B  flat,  C  minor;    sonata 

at  Leipi^ic  University  he  took  part  in  for   violin   and   piai^o,   the   operettas 

the  "  Grosses  Concert "  as  singer  and  "The  Disagreeable  Princess,"  and  "St. 

flute  player,  served  a  time  as  tutor  in  Elizabeth's   Rose,"   songs,   "  The  Tri- 

the  family  of  Count  Briihl,  but  from  umph  of  Caesar,"  orchestral  fantasia, 

1763  deyoted  himeslf  to  composition  the  opera  "Tamara."    B.  Nov.  20, 1869, 

and  the  advancement  of  Leipsic's  mu-  Beckenham,  Eng. ;  add.  London.  Kath- 

sical   interests.     He   successively   di-  erine  Goodson  played  piano;    debut 

rected  the  "  Liebhaber-concerto,",  the  Berlin,  1899 ;  toured  with  Kubelik.    B. 

"  Concerts-Spirituel,"     beginning     his  June    18,    1872,   Watford,   Eng.;     m. 

performances  in  the  Gewandhaus,  1781.  ARTHUR,  1903;    add.  London. 

In   1782   he  became   ehapelmaster  to  Hintze  (Jacob)  composed  hymns; 

the  Duke  of  Courland,  but  continued  musician  to  Elector  of  Brandenburg, 

to  conduct  the  Gewandhaus  concerts  B.  Sept.  4,  1622,  Berneau,  near  Berlin; 

until   1789,  when  he  became  Cantor  d.  May  5,  1702,  Berlin, 

of  the  Thomaskirche  and  director  of  Eipkins   (Alfred  James)  revived 

the  Thomasschule.    Hiller  was  author,  interest  in  harpsichord  and  clarichord, 

editor,  teacher,  as  well  as  conductor  playing  both  instruments;   wrote  and 

and  composer.    B.  Dec.  25,  1728,  near  lectured  on  musical  topics;    was  as- 

Gorlitz   Prussia;     d.   June   16,    1804,  sociated  with  Broadwood  &  Sons  63 

Leipsic.  years.    B.  June  17,  1826,  London;   d. 

Hilton   (John)   composed  the   an-  June  3,  1903. 

them  "  Call  to  remembrance,"  madri-  His.     Ger.    The  note  B  sharp, 

gals;  flayed  organ  Lincoln  Cathedral  His  Majesty.     Sir  A.  C.  Macken- 

and  Trinity  College,  Cambridge,  1594.  zie's  comic  opera,  to  book  by  F.  C. 

John  composed  songs  and  anthems ;  Burnand  and  R.  C.  Lehmann,  was  flrst 

played  organ.    B.  1599 ;   probably  son  performed  Feb.  20,  1897,  at  the  Savoy, 

of  JOHN;    d.  Mar.  21,  1656.  London. 


H  IlIOLL 


275 


EOFMANN 


H  Moll,     Oer.    Key  of  B  minor. 

Hobbs  (John  William)  composed 
"  When  Delia  sings,"  "  Phillis  is  my 
only  Joy,"  and  other  popular  songs; 
sang  as  chorister  Canterbury  Cattie- 
dral,  and  later  in  Eng.  Chapel  Royal 
and  Westminster  Abbey.  B.  Aug.  1, 
1799,  Henley,  Eng.;  d.  Jan  12,  1877, 
Croydon. 

Hoboe  or  Hoboy.    OBOE. 

Eochschule.     Qer.     High  School. 

Hocbzeit  des  Camacbo.  Felis. 
Mendelssohn's  two-act  comic  opera,  to 
book  by  Klingemann,  founded  on  Don 
Quixote,  was  first  performed  April  29, 
1827,  at  Berlin. 

Hocbzeitsmarscb.  Oer.  Wedding 
march. 

Hocket.    Obsolete  form  of  Discant. 

Hodges  (Dr.  Edward)  invented 
improvements  in  the  bellows  and  other 
parts  of  organ  mechanism;  played 
organ  Trinity  Church,  New  York, 
1846-59;  composed  services,  anthems ; 
wrote  "  An  Essay  on  the  Cultivation 
of  Church  Music,  1841;  retired  and 
returned  to  England.  B.  July  20, 
1796,  Bristol,  Eng.;  d.  Sept.  1,  1867, 
Clifton.  Faustina  Hasse  played  or- 
gan ,  in  Brooklyn  and  Philadelphia 
churches ;  wrote  memoir  of  her  father 
DR.  EDWARD.  D.  1895,  New  York. 
Bev.  Jobn  Sebastian,  D.D.,  played 
organ;  rector  of  St.  Paul's  Church, 
Baltimore,  Md.  Son  of  DR.  EDWARD. 

HodsoU  (William)  published  mu- 
sic in  London  as  successor  to  John 
Bland  (1800),  and  Francis  Linley, 
until  1831. 

Hoey  (James)  published  music  in 
Dublin,  including  "^The  Messiah  "  and 
"  The  Beggar's  Opera,"  1728-73. 

Hoffman  (Bichard)  composed 
Cuban  Dances  and  other  piano  music; 
played  with  New  York  Philharmonic 
Society,  1847,  afterwards  touring  with 
Jenny  Lind;  honorary  member  Phil- 
harmonic Society.  B.  May  24,  1831, 
Manchester,  Eng. 

Hoffmann  (Ernst  Theodor  Wil- 
helm)  composed  "  Undine,"  and  in  all 
11  operas,  two  S3rmphonies,  a  ballet; 
managed  theatres,  sang,  conducted,  but 
was  best  known  as  a  writer  of  short 
stories  and  poems.  B.  Jan.  24,  1776, 
Konigsberg;   d.  June  25,  1822,  Silesia. 


Hoffmann  (Gerard)  invented  im- 
provements for  flute  and  oboe.  B. 
Nov.  11,  1690,  Rastenberg. 

Hoffmann  (Heinricb  August) 
composed  hymns  and  songs.  B.  Fal- 
lersleben,  Hanover,  April  2,  1798;  d. 
Jan.  19,  1874,  Corvey,  Westphalia: 

Hoffmann  (Karel)  founded  the 
BOHEMIAN  STRING  QUARTETTE. 

Hoffmeister  (Eranz  Anton)  com- 
posed nine  operas,  120  works  for 
strings,  in  all  350  numbers;  founded 
the  "  Bureau  de  musique  "  in  Leipsic, 
of  which  the  house  of  PETERS  is  the 
outgrowth;  published  for  Haydn,  Mo- 
zart, and  Beethoven.  B.  1754,  Rothen- 
berg;    d.  Feb.  10,  1812,  Vienna. 

Hofhaimer,  von  (Faulus)  com- 
posed "  Meins  trauern  ist "  and  other 
four-part  songs,  recently  republished 
and  much  admired;  35  settings  of  the 
Odes  of  Horace,  organ  music;  was 
reputed  the  greatest  organist  of  his 
generation  and  attached  as  such  to 
Prince  Bishop  of  Salzburg  and  Em- 
peror Maximilian  I;  Knight  of  the 
Golden  Spur,  ennobled  by  the  Em- 
peror in  St.  Stephen's,  Vienna,  1515, 
when  his  Te  Deum  was  sung  to  as- 
sembled royalty.  B.  Jan.  25,  1459, 
Badstadt,  Salzburg;    d.  1539. 

Hofmann  (Heinrich  Karl  Jo- 
hann)  composed  "  Nornengesang " 
for  soli,  female  chorus,  and  orchestra; 
orchestral  suites,  "  Aschenbrodel," 
"Editha,"  "Die  schone  Melusine," 
and  other  cantatas,  the  comic  opera 
"  Cartouche,"  the  operas  "  Der  Ma- 
tador," "  Armin,"  "  Wilhelm  von  Ora- 
nien,"  "  Donna  Dianna."  In  boyhood 
a  chorister  in  the  Berlin  Domchor  and 
pupil  of  Kullah.  B.  Berlin,  Jan.  13, 
1842;    d.  July  16,  1902,  Berlin. 

Hofmann  (Josef)  played  piano  in 
concert  with  great  success;  debut  at 
six;  pupil  of  his  father  and  later  of 
Rubenstein;  toured  Europe  at  nine; 
gave  52  concerts  in  America,  1887, 
where  he  was  broken  down  by  hard  ■ 
work;  retired  for  six  years;  resumed 
performances  in  public,  1894.  To  the 
remarkable  digital  ability  which  dis- 
tinguished him  as  a  boy  Hofmann 
later  brought  the  mature  intelligence 
of  a  genuine  musician.  B.  1877,  Cra- 
cow;   add.  New  York. 


HOOABTH 


376 


HOIilVCES 


Hogarth  (George)  composed  songs; 
became  music  critic  of  the  London 
"  Daily  News,"  1846,  when  his  son- 
in-law,  Charles  Dickens,  was  made 
editor;  wrote  "  Memoirs  of  the  Opera." 
B.  1783;    d.  Feb.  12,  1870,  London. 

Holborne  (Anthony)  published  a 
"  Cittharn  Schoole "  containing  32 
pieces  in  tablature,  to  which  were 
added  "  sixe  short  Aers  Neapolitan " 
by  his  brother  William,  1597.  An- 
tony Holborne  was  Gentleman  Usher 
to  Queen  Elizabeth. 

Holbrooke  (Josef)  composed  the 
tone  poem  "  The  Raven,"  1900,  and  the 
symphonic  poems  "  Ode  to  Victory," 
"The  Skeleton  in  Armor,"  "Ula- 
lume,"  "Queen  Mab,"  "The  Masque 
of  the  Red  Death,"  chamber  music, 
songs,  and  instrumental  pieces;  pupil 
of  Corder  and  Westlake,  Royal  Acad- 
emy of  Music,  London.  B.  July  6, 
1878,  Croydon;    add.  London. 

Holcombe  (Henry)  composed  two 
collections  of  songs,  violin  solos ;  sang 
in  opera  as  a  boy,  and  later  taught 
vocal  and  harpsichord  in  London.  B. 
Salisbury,  about  1690;  d.  about  1750, 
London. 

Hold.     Fermata. 

Holden  (John)  wrote  "Essay 
towards  a  Rational  System  of  Music," 
Glasgow,  1770;  published  a  "Collec- 
tion of  Church  Music,"  1776. 

Holden  (SmoUet)  composed  mili- 
tary music,  collected  and  published 
Irish  melodies;  sold  music  in  Dublin 
toward  the  close  of  the  iSth  century. 

Holder  (Joseph  William)  com- 
posed a  mass,  anthems,  secular  songs; 
played  organ;  chorister  Eng.  Chapel 
Royal.  B.  1764,  London;  d.  1832, 
London. 

Holder  (Rev.  William,  D.D.) 
wrote  "A  treatise  on  the  Natural 
Grounds  and  Principles  of  Harmony," 
1694;  composed  an  evening  service  in 
C  and  two  anthems;  Sub-dean  of  the 
Chapel  Royal  and  rector  of  Therfield. 
B.  1616,  Nottinghamshire;  d.  Jan. 
24,  1697,  Hertford. 

Holding  Note.  A  tone  sustained 
while  others  are  in  motion. 

Hole  (William)  engraved  "  Par- 
thenia,"  a  collection  of  virginal  music 
about  1611,  which  was  probably  the 


first  publication  of  engraved  music  in 
England. 

Hollander  (Alexis)  composed  a 
piano  quintet,  suite  for  piano  and 
violin;  taught  Kullak's  Academy, 
Berlin.  B.  Feb.  26,  1840,  Ratibor, 
Silesia;    add.  Berlin. 

Hollander  (Beno)  composed  the 
symphony  "  Roland  " ;  violin  concertos 
and  a  pastorale  played  by  Ysaye; 
eoncertmeister  at  London  German 
opera  under  Richter  and  for  Henschel ; 
taught  Guildhall  School  of  Music; 
founded  his  own  orchestral  society, 
Kensington,  1903;  pupil  of  Paris  Con- 
servatoire. B.  Jime  8,  1853,  Amster- 
dam;   add.  London. 

Hollander  (Christian  Janszon) 
composed  motets,  of  which  25  have 
been  reprinted  by  Commer,  secular 
songs;  sang  in  Imperial  Chapel  at 
Vienna.     D.  about  1570. 

Hollander  (Gustav)  composed  for 
violin  and  piano;  taught  violin  Co- 
logne and  Stern  (Berlin)  Conserva- 
tories; quartet  player  and  eoncert- 
meister, Hamburg  orchestra,  1896; 
pupil  of  Joachim.  B.  Feb.  15,  1855, 
LeobschUtz,  Upper  Silesia ;  add.  Ham- 
burg. Victor  composed  the  comic 
operas  "  Carmosinella,"  "  The  Bay  of 
Morocco  " ;  directed  Metropol  Theatre, 
Berlin,  1901.  B.  1866;  brother  of 
GUSTAV;    add.  Berlin. 

Hollins  (Alfred)  composed  songs, 
organ  music,  a  romance  for  violin  and 
piano;  toured  Europe,  America  (1886 
and  1888),  and  Australia;  totally 
blind  from  boyhood,  he  studied  at  the 
Wilberforoe  Institution,  York,  and  the 
Royal  Normal  College  for  the  Blind, 
where  he  afterwards  taught.  B.  Sept. 
11,  1865,  Hull;    add.  London. 

Holmes  (Alfred)  composed  the 
symphonies  "  Jeanne  d'Arc,"  "  Robin 
Hood,"  "The  Siege  of  Paris,"  "Charles 
XII,"  and  "Romeo  and  Juliet";  the 
overtures  "Le  Cid"  and  "The  Muses"; 
the  opera  "  Inez  de  Castro,"  accepted 
though  not  performed  by  the  Paris 
Grand  Opera ;  toured  Europe  as  vio- 
linist in  company  with  his  brother 
HENRY;  largely  self-taught.  B. 
Nov.  9,  1837,  London;  d.  Mar.  4, 
1876,  Paris.  Henry  composed  four 
symphonies,  two  sacred  cantatas  for 


HOLSliiS 


277 


HOPKINS 


soli,  choras,  and  orchestra,  songs,  con-  chosen  biographer,  although  he  failed 

certo  in  F  for  viohn;  two  quintets  for  to  write  the  biography.     B    1798   Vi- 

strings;  gave  chamber  ctoncerts;  taught  enna;   d.  Nov.  9,  1858,  Vienna, 

violin  Royal  College  of  Music,  Lon-  Holzbauer   (Ignaz)   composed  the 

don,  fro.m  its  foundation  to  1894;    in  successful  opera  "  Gunther  von  Schwar- 

®^^J;'^^    toured    with    his    brother  burg,"  65   symphonies;    chapelmaster 


ALFRED.    B.  Nov.  7,  1839, 

Holmes  (Augusta  SEaiy  Anne) 
composed  the  operas  "  La  Montaigne 
noir,"  Paris  Grand  Opfira,  1895,  "  As- 
tarte,"  "  Lancelot  du  Lac  " ;    the  sym- 


at  Stuttgart  and  Mannheim.  B.  1711, 
Vienna;   d.  April  7,  1783,  Mannheim. 

Holzblas  instrumente.  Ger.  The 
woodwinds. 

Home  Sweet  Home  was  composed 


"Hero  et  Leandre"  are  the  "best 
known  of  her  earlier  works.  B.  Dec. 
26,  1847,  Paris;  d.  Jan 
Paris. 


phonic  poems  "  Irlande,"  "Pologne";  by  Sir  Henry  R.  Bishop,  to  words  by 

the   symphonies   "  Lutece,"   "  Orlanda  John  Howard  Payne,  1823,  and  first 

Furioso  " ;     pupil    of    Cfisar    Pranck.  sung  in  his  opera  "  Clari,  or  the  Maid 

Of   Irish   parentage,   though   born   in  of    Milan."     The    verses,    instead    of 

Paris,    she   developed   her   talent   for  being  original,   are   a   paraphrase   of 

music  at  an  ea^ly  age,  played  in  draw-  an  earlier  song  by  T.  H.  Bayly,  and 

ing  rooms,  and  composed  songs.     The  Bishop  had  published  the  tune,  with- 

psahn    "  In    exitu "    and    the    opera  out  the  refrain,  three  years  before. 

«TT          -i    T        j__ .,             i,       ,     ■  Homilius    (Gottfried    August) 

composed   a    "  Passion   According    to 

28,    1903,  St.  Matthew  "  and  much  church  music 

^  in  the  style  of  Johann  Sebastian  Bach, 

Holmes   (Edward)   wrote  lives  of  whose  pupil  he  was.    B.  Feb.  2,  1714, 

Purcell,  Mozart,  and  other  books  on  Rosenthal,  Saxony;    d.  June  2,  1785, 

music;     criticism.     B.   near   London,  Dresden. 

1797;   d.  Aug.  28,  1859,  United  States.  Homophony.      Gr.     Voices   or   in- 

Holmes  (Greorge)  composed  "  Arise,  struments   of  the   same  character   in 

shine,  O  daughter  of  Zion,"  and  other  unison. 

anthems ;  played  organ  Lincoln  Cathe-  Hook   (James)    composed  "  Dido," 

dral.    D.  1721.  "  Music    Mad,"    and    other    dramatic 

Holmes    (Jolm)    composed   madri-  pieces  for  Drury  Lane;    the  oratorio 

gals;    played  organ  Salisbury  Cathe-  "The  Ascension,"  songs   and  harpsi- 

dral,     1602-10.      Thomas     composed  chord   music,   more   than   2000   vocal 

catches;     sang    Eng.    Chapel    Royal,  pieces  in  all.     B.  June  3,  1746,  Nor- 


Son    of    John; 
Salisbury. 
Holmes    (William    Henry)    corn- 


Mar.    25,    1638,    wich;    d.  1827,  Boulogne. 

Hooper    (Edmond)    composed    an- 
thems,   harmonized    tunes    for    "The 


posed  piano  concerto  in  A  major;  Whole  Booke  of  Psalms,"  Este;  sang 
taught  piano  Royal  Academy  of  Music,  Eng.  Chapel  Royal;  master  of  the 
London.    B.  Jan.  8,  1812,  Derbyshire;    children,     Westminster     Abbey.      B. 


d.  April  23,  1885,  London. 


Holstein,   von   (Franz)    composed   London. 


1553,  Devonshire;    d.  July  14,  1621, 


"Die  Erbe  von  Morley,"  "Die  Hoch- 
lander,"  "  Die  Haideschacht,"  the  con- 


Hopkins  (Dr.  Edward  John)  com- 
posed anthems,  services,  songs;  choris- 


cert  overture  "  Loreley."     B.  Feb.  16,    ter  in  the  Chapel  Royal  in  boylfood, 
1826,   Brunswick;    d.   May   22,   1878,    he  sang  at  coronation  of  William  IV, 


Leipsic. 


1831,   and   Diamond   Jubilee   of  Vic- 


Holyoke  (Samuel)  composed  songs  toria,  1897;  played  organ  London 
and  instrumental  pieces;  published  a  churches.  B.  June  30,  1818;  d.  Feb. 
collection  of  hymn  tunes,  "  Harmonia  4,  1901,  London.  John  composed 
Americana,"  1791,  Boston;  taught,  church  music;  played  organ,  Roches- 
"     "     ""  "     1816,    ter  Cathedral.    B.  1822,  Westminster; 

brother  of  EDWARD  JOHN;    d.  Aug. 


B.    1771,    Boxford,    Mass.; 
Concord,  N.  H. 

Holz    (Karl)    played   violin;     best    27,  1900,  Rochester,  Eng.     Dr.  John 
known     as     Beethoven's     friend    and   Larkin  played  organ  Trinity  College 


HOFKINSON 


278 


H0BSLE7 


and  Cambridge  University,  Rochester 
Cathedral;  edited  and  composed 
church  music.  B.  Not.  25,  1819, 
Westminster;  cousin  of  JOHN  ED- 
WARD;   d.  April  25,  1873,  Ventaor. 

Eopkinson  (John)  founded  a  piano 
factory  at  Leeds,  Eng.,  1835 ;  removed 
to  London,  1846;  invented  harmonic 
pedal  and  a  repetition  action;  pub- 
lished music.  On  the  retirement  of 
JOHN,  1869,  the  business  passed  to 
his  brother  iTaines,  whose  son  iTohn. 
was  a  director  in  the  corporation 
which  assumed  control,  1895. 

Hopper.  Escapement  lever  of  the 
piano. 

Horae  Canonicae  are  the  hours  at 
which  devotions  are  held  in  the  Roman 
Catholic  Church:  Lauds  at  daybreak; 
prime  at  6  a.  M. ;  Tierce,  9  a.  m.  ; 
Sext,  noon ;  Nones,  3  P.  M. ;  Vespers, 
evening;  Compline,  before  bedtime. 
Night  services  were  called  Nocturnes, 
and  Nocturnes  and  Lauds  merged  were 
called  Matins. 

Horn.  In  general  the  name  of  all 
brass  wind  instruments;  the  French 
Horn  is  one  of  the  most  important 
and  at  the  same  time  most  difficult 
instruments  in  tte  modern  orchestra. 
The  Horn  in  F,  which  was  first  em- 
ployed and  is  still  most  common  in 
orchestra,  is  a  tube  12  feet  in  length, 
terminating  in  a  bell,  and  coiled  to 
make  it  convenient  for  handling.  The 
pitch  may  be  raised  or  lowered  by 
means  of  crooks,  which  thus  alter  the 
key,  or  by  valves.  The  older  horn 
could  only  produce  the  fundamental 
note  of  its  tube  and  its  harmonics. 
Hampl,  a  horn  player  at  the  court  of 
Dresden  in  1775,  discovered  that  by 
introducing  the  hand  in  the  bell,  and 
touching  the  tube  in  such  a  way  as  to 
change  the  pitch,  the  complete  chro- 
matio  scale  could  be  produced,  al- 
though the  stopped  or  hand  notes  had 
a  peculiar  muffled  or  muted  quality. 
The  use  of  crooks  further  extended 
the  usefulness  of  the  instrument  by 
making  it  available  in  all  keys,  and 
the  modem  valved  instrument  elimi- 
nates the  difficulty  of  the  stopped 
notes,  although  not  so  brilliant  as  the 
older  instrument,  while  still  permit- 
ting the  weird  effect  of  the  muffled 


tones  where  desired.  Although  the 
upper  tones  are  not  safe,  the  Horn  in 
C  has  a  compass  of  C  to  c",  and  other 
instruments  are  in  lower  keys.  In 
any  key,  however,  the  embouchure  is 
the  same,  and  for  convenience  to  the 
player,  it  is  treated  as  a  transposing 
instrument,  music  being  written  in  C, 
sounding  an  octave  lower  than  writ- 
ten, and  on  the  G  clef,  with  the  F  clef 
for  the  lower  tones.  The  French  horn 
is,  in  its  natural  or  valveless  form, 
the  Cor  de  chasse,  Walhorh,  or  Corno 
di  cassia,  used  for  signals  in  hunting 
in  France,  Germany,  and  Italy.  Louis 
XI,  Louis  XIII,  Louis  XV  were  all 
accredited  with  having  invented  cer- 
tain of  the  calls  still  employed. 

Horn  Band.  A  band  of  horn 
players.  Bands  in  which  37  instru- 
ments, most  of  which  sounded  but  one 
tone,  were  made  fashionable  by  Em- 
press Elizabeth  of  Russia. 

Horn  (Karl  Friedrich)  composed 
six  piano  sonatas;  taught  English 
Royal  family  and  played  organ  St. 
George's,  Windsor.  B.  1762,  Nord- 
hausen.  Saxony;  d.  Aug.  5,  1830. 
Charles  Edward  composed  music  to 
Moore's  "  Lalla  Rookh,"  the  comic 
opera  "M.  P.  or  the  Blue  Stocking," 
to  book  by  Thomas  Moore,"  "  Honest 
Frauds,"  containing  "  The  deep,  deep 
sea,"  made  popular  by  Malibran;  sang 
in  concert  and  opera;  produced  Eng- 
lish opera.  Park  Theatre,  New  York, 
1833;  directed  Handel  and  Haydn 
Society,  Boston,  Mass.,  1847-48,  B. 
1786,  London;  son  of  KARL  FRIED- 
RICH;   d.  Oct.  21,  1849,  Boston. 

Hornpipe.  Obsolete  instrument 
with  bell  of  horn,  from  which  the  COR 
ANGLAIS  may  be  derived;  lively  old 
English  step  dance  in  3-2  or  4-4  time. 

Horsley  (William)  composed  "  By 
Celia's  Arbor,"  in  all  five  collections 
of  glees,  collections  of  hymn  and  psalm 
tunes,  40  canons;  helped  found  Lon- 
don Philharmonic  Society;  wrote  "An 
explanation  of  the  Major  and  Minor 
Scales,"  1825;  played  organ  in  Lon- 
don churches.  B.  Nov.  15,  1774,  Lon- 
don; d.  June  12,  1858,  London. 
Charles  Edward  composed  the  ode 
"  Euterpe,"  for  soli,  chorus,  and  or- 
chestra, Melbourne,  Australia,   1870; 


HOSAUMTA  379  HUDSON 

the  oratorios  "David,"  "Gideon,"  1892;  "A  Falu  Rossa"  (The  Town 
"Joseph";  played  organ  in  London,  Loafer),  1896;  songs,  a  violin  con- 
Melbourne,  and  New  York  churches;  certo,  many  violin  pieces  based  on 
wrote  "Text  Book  of .  Harmony."  B.  Hungarian  dances  or  Czardas;  played 
Dec.  16,  1822,  London;  son  of  WIL-  violin  in  quartet  and  as  soloist; 
LIAM;   d.  New  York,  Feb.  28,  1876.       taught,  Brussels  Conservatoire,  1882- 

Hosanna.  Heb.  "  Save  now."  86.  Son  of  the  chapelmaster  of  the 
Part  of  the  Sanctus  in  the  MASS.       Hungarian  opera  and  professor  at  the 

Hothby  (John)  composed  church  Pest  Conservatory.  Hubay  was  a 
music ;  wrote  "  Ars  Musica "  and  pupil  of  his  father,  better  known  as 
other  Latin  tracts  on  music ;  taught ;  "  Karl  Huber,"  and  of  Joachim.  On 
Dr.  Mus.  and  of  Theology;  monk  of  his  father's  death  he  returned  to 
Carmelite  Order.  B.  England;  spent  Pest  as  his  successor.  B.  Sept.  14, 
many  years  in  Italy;  returned  to  1858,  Budapest;  add.  Budapest. 
England  by  order  of  Henry  VII.  D.  Huber  (Hans)  composed  the  operas 
1487.  "  Weltfruhling,"   Basle,    1894;     "Ku- 

Howard  (Dr.  Samuel)  composed  drun,"  Basle,  1896;  "Tell-Symphonie," 
the  pantomime  "The  Amorous  God-  "Landliche-Symphonie";  chamber mu- 
dess,"  Drury  Lane,  1744;  cantatas,  sic,  the  fairy  opera  "  Florestan " ;  di- 
songs,  church  music;  played  organ;  rected  Basle  music  school,  1896;  pupil 
pupil  of  Dr.  Pepuach.  B.  1710;  d.  Leipsic  Conservatory.  B.  June  28, 
July  13,  1782,  London.  1852,  Sehonewerdj  Switzerland;    add. 

Howe  (Julia  Ward)  wrote  the  Basle, 
words  of  the  "  Battle  Hymn  of  the  Hubermann  (Bronislaw)  played 
Republic"  and  many  song  books;  violin  in  concert;  debut,  Amsterdam, 
Unitarian  preacher  and  anti  slavery  at  11;  reappeared  in  tours  of  Europe 
agitator.  B.  New  York,  May  27,  1819 ;  and  America,  1903;  pupil  of  Joachim, 
daughter  of  Samuel  and  Julia  Rush  B.  Dee.  19,  1882,  near  Warsaw,  Po- 
Cutter  Ward;  m.  Dr.  Sam  G.  Howe,  land;  add.  Berlin. 
1843;   add.  Boston.  Huber    or    TJberti     (A.)     taught 

Howell  (James)  played  double-  Malibran,  Grisi;  in  early  life  famous 
bass,  which  he  taught.  Royal  Academy  as  a  sopranist.  B.  about  1697,  Ver- 
of  Music,  London.  B.  1811,  Plymouth,  ona;  d.  1783,  Berlin. 
Eng. ;  d.  Aug.  5,  1879.  Arthur  played  Hucbald  of  St.  Amand  wrote  "  En- 
doublebass;  sang  bass;  stage  man-  chiridiona  Musicae,"  in  which  he  de- 
ager  to  Carol  Rosa  Company.  B.  scribes  the  early  form  of  part  writing, 
1836;  son  of  JAMES;  d.  A]pril  16,  which  he  calls  Symphonia,  with  the  aid 
1885.  Edward  played  'cello  in  con-  of  a  system  of  NOTATION  which  he 
cert  and  leading  London  orchestras,  invented;  a  work  giving  the  clearest 
B.  Feb.  5,  1846,  London;  son  of  idea  of  the  condition  of  music  in 
JAMES;   d.  Jan.  30,  1898.  Europe   100  years  prior  to  the  time 

Howgill  (William)  played  organ  of  Guido.  Poet  as  well  as  musician; 
in  London  churches;  composed  church  disciple  of  St.  Remi  of  Auxerre,  and 
music,  1794.  the  close  associate  of  St.  Odo  of  Cluny. 

Hoyland  (John)  composed  church   Hucbald  or  Ubaldus  or  Hucbadus  was 
music ;  played  organ  English  churches,    a  monk   of   St.   Amand   sur   I'Elnon, 
B.   1783,  Sheffield,  Eng.;   d.  Jan.  18,    Flanders.    B.  about  840;   d.  930. 
1827.     William  succeeded  his  father       Huchet.     Fr.    Postman's  horn, 
as  organist  at  Louth,  1829.     Son  of       Hudgebut  (John)  published  music 
JOHN;    d.  Nov.  1,  1857.  in  London,  1679  to  1695. 

Hoyle  (John)  wrote  "Dictiona-  Hudson  (Robert)  composed  songs, 
rium  Musica,"  ■  published  in  London,  published  1767,  as  "The  Myrtle"; 
1770.'   D,  1797.  sang  Eng.  Chapel  Royal;    master  of 

Hubay  (Jeno)  composed  the  children,  St.  Paul's  Cathedral.  B. 
operas  "Der  Geigenmacher  von  Cre-  Feb.  25,  1732,  London;  d.  Dec.  19, 
mona,"  Pest,  1893;    "Alienor,"  Pest,    1815,  Eton.     Mary  composed  hymns. 


HTTE 


280 


HnGTTENOTS 


played  organ.  B.  1790;  daughter  of 
ROBERT;    d.  Mar.  28,  1801. 

Hue  (Georges  Adolph)  composed 
the  ■  operas  "  Lea  Pantins,"  Faria 
Op6ra  Comique,  Deo.  28,  1882;  "Le 
Roi  de  Paris,"  Paris  Opgra,  April  26, 
1901;  "Titania,"  Paris  Opfira  Com- 
ique, Jan.  20,  1903;  the  symphony 
"Rubezahl,"  "Ballade  et  Polonaise," 
for  violin;  songs,  overtures,  choruses. 
Pupil  of  the  Paris  Conservatoire,  Hue 
won  the  prix  de  Rome,  1879;  the  Cres- 
sent  prize,  and  that  of  the  City  of 
Paris,  1885.  B.  May  6,  1858,  Ver- 
sailles;   add.  Paris. 

Huefler  (Francis,  Ph.D.)  wrote 
"Richard  Wagner  and  the  Music  of 
the  Future,"  1874;  "  The  Life  of  Wag- 
ner," 1881;  criticism  for  the  London 
"  Times,"  and  periodicals.  B.  May 
22,  1843,  Manster;  d.  Jan.  19,  1889, 
London. 

Hugbes  (Rupert)  edited  the  "  Mu- 
sical Guide,"  1903 ;  wrote  "  American 
Composers,"  1900,  "Love  Affairs  of 
Great  Musicians,"  1903;  composed 
"A  Riley  Album,"  songs;  compiled 
songs  by  thirty  American  composers, 
wrote  plays.  Graduated  from  Yale 
as  A.M.,  1892,  he  served  as  assistant 
editor  of  Godey's  magazine.  Current 
Literature  and  the  Criterion,  then 
spent  a  year  in  London,  and  in  1901 
joined  the  staff  of  the  Encyclopedia 
Brittanica.  B.  Lancaster,  Mo.,  Jan. 
31,  1872;    add.  New  York. 

Huguenots.  Giacomo  Meyerbeer's 
five-act  opera,  to  book  by  Scribe  and 
Deschamps,  was  first  performed  Feb. 
29,  1836,  at  the  Academic,  Paris.  The 
opera  opens  in  the  banquet  hall  of  the 
Count  de  Nevers.  Raoul  de  Nangis, 
a  Huguenot  gentleman,  is  one  of  the 
guests.  The  gentlemen  discuss  their 
love  affairs,  and  Raoul  tells  how  he 
rescued  a  beautiful  woman  from  some 
disorderly  students.  Marcel  tries  to 
persuade  his  master  to  leave  the  house, 
and  the  Catholic  nobles  find  amuse- 
ment in  his  fanatic  utterances.  Valen- 
tine, who  is  heavily  veiled  but  is  never- 
theless recognized  by  Raoul,  comes  to 
see  De  Nevers,  her  purpose  being  to 
plead  for  a  release  from,  her  engage- 
ment to  him,  but  Raoul  ascribes  an- 
other motive  to  her  visit.    Then  Ur- 


bain,  the  page,  brings  a  mysterious 
letter  to  Raoul,  which  the  others  rec- 
ognize as  being  from  Marguerite  de 
Valois,  and  in  accordance  with  the 
page's  instructions,  Raoul  permits 
himself  to  be  blindfolded  and  led 
away  to  Marguerite's  court.  The 
scene  changes  to  Marguerite's  garden. 
The  princess,  whose  marriage  to  Henry 
de  Navarre  is  approaching,  desires  to 
reconcile  the  Catholics  and  Hugue- 
nots, had  arranged  for  the  marriage 
of  Valentine  and  Raoul.  When  Raoul 
sees  Valentine,  however,  he  suspects 
that  Marguerite  has  planned  to  dis- 
honour him.  He  refuses  to  accept 
Valentine  as  his  bride,  and  her  father, 
Count  de  St.  Bris,  challenges  him. 
The  marriage  of  Valentine  and  De 
Nevers  is  again  arranged.  While 
praying  in  a  chapel,  Valentine  over- 
hears her  father  planning  with  Maure- 
vert  for  Raoul's  assassination,  and 
she  warns  Marcel.  A  bloody  encoun- 
ter between  the  Huguenots  and  Catho- 
lics is  averted  by  the  timely  appear- 
ance of  Marguerite,  and  Marguerite 
explains  to  Raoul  the  cause  of  Valen- 
tine's visit  to  De  Nevers,  just  as  that 
noble  appears  to  claim  his  bride. 
Valentine  gives  Raoul  a  final  inter- 
view, which  is  interrupted  by  an  as- 
semblage of  Catholic  nobles  to  per^ 
feet  plans  for  the  Massacre  of  St. 
Bartholomew.  From  his  concealment 
the  Huguenot  hears  everything,  in- 
cluding the  refusal  of  De  Nevers  to 
take  part  in  the  carnage.  His  first 
impulse  is  to  warn  his  co-religionists. 
Valentine  pleads  with  him  to  remain, 
but  honour  triumphs  over  love,  and 
he  leaves  by  way  of  the  window  as  the 
tocsin  announces  the  beginning  of  the 
massacre.  The  fourth  act,  often 
omitted  in  performance,  brings  Valen- 
tine and  Raoul  together  in  a  chapel. 
Marcel,  who  has  been  wounded,  tells 
them  De  Nevers  has  been  killed.  The 
assembled  Huguenots  sing  hymns,  the 
lovers  are  united  by  the  ministration 
of  Marcel,  but  a  moment  later  the 
Catholic  soldiery  commanded  by  St. 
Bris  enter  the  chapel,  and  both  are 
slain  before  St.  Bris  can  recognize 
his  daughter.  The  original  caste  was : 
Valentine,  Mile.  Falcon;   Marguerite, 


HtJ-LFSUNIElI 


281 


HTTMFHBEYS 


Mme.  Dorus-gras;  Urbain,  Mile.  F16- 
cheux;  St.  Bris,  lerda;  De  Nevers, 
Serivls;  Raoul,  Nourrit;  Marcel, 
Levasseur. 

Hulfslinien.     Oer.    Leger  lines. 

Hiilfsnote.     Oer.     Auxiliary  note. 

HuUah  (John  Pyke,  LL.D.)  com- 
posed the  opera  "Village  Coquettes," 
to  book  by  Charles  Dickens  (destroyed 
in  the  Edinburgh  Theatre  fire) ;  "  The 
Barbers  of  Bassorah,"  the  popular 
songs  "Three  Fishers,"  "The  Storm"; 
wrote  "  The  Cultivation  of  the  Speak- 
ing Voice,"  1870,  many  text  books  on 
music;  edited  psalters;  taught  at 
Exeter  Hall,  London,  King's  College; 
played  organ;  conducted.  B.  June 
27,  1812,  Worcester;  d.  Feb.  21,  1884, 
London. 

Hulsteyn,  van  (Toan  C.)  was 
head  of  the  violin  department  of  the 
Peabody  Institute,  prior  to  which  he 
played  first  violin  in  the  Lamoureuz 
Orchestra,  Paris;  pupil  of  the  Li^ge 
Conservatory,  under  Cesar  Thompson, 
where  he  won  the  first  prize.  B.  1869, 
Amsterdam,  Holland;  add.  Balti- 
more,  Md. 

Hume  (Tobias)  composed  116  airs 
in  tablature  for  viol  da  gamba  and 
five  songs;  played  viol  da  gamba; 
English  army  officer.  D.  April  16, 
1645. 

Hummel  (Johami  Nepomuk) 
wrote  a  "Piano  School,"  1824,  advo- 
cating a  new  method  of  fingering,  ex- 
cept that  the  thumbs  were  not  to  be 
used  on  black  keys;  rivalled  Beetho- 
ven in  powers  of  improvising  at  the 
piano;  composed  Mass  in  B  flat,  Op. 
77;  Mass  in  E  flat.  Op.  80;  Septet, 
Op.  74,  "6  Pieces  tres  faciles,"  and 
much  forgotten  piano  music,  includ- 
ing sonatas  and  concertos,  the  opera 
"  Matilde  von  Guise  " ;  conducted  Bee- 
thoven's Mass  in  C  while  chapelmaster 
to  Prince  Bsterhazy;  quarrelled  with 
that  composer,  to  whom  he  was  recon- 
ciled during  Beethoven's  last  illness; 
chapelmaster  at  Stuttgart  and  Wei- 
mar; pupil  of  Mozart,  Haydn,  Sa- 
lieri,  Clementi,  and  ^Ibrechtsberger. 
B.  Nov.  14,  1788;  son  of  JOSEPH; 
m.  ELIZABETH  ROCKL;  d.  1837. 
Elizabeth  Kockl  sang  in  opera.  B. 
1793;    m.  JOHANN  NEPOMUK;    d. 


1883,  Weimar.  Joseph  taught  music 
Wartburg  Military  Academy;  became 
conductor  at  Vienna,  1786. 

Hiimmelchen.  Oer.  Small  bag- 
pipe ;    drone. 

Humoreske.  Musical  work  of  hu- 
morous intent. 

Humperdinck  (Engelbert)  com- 
posed the  fairy  opera  "H^SEL 
UND  GRETEL,"  Weimar,  1893,  which 
quickly  became  a  favourite  through- 
out Europe  and  America;  "Die 
KONIGSKINDER,"  1896;  "Dom- 
roschen,"  1902;  "Die  Heirath  wider 
Willen,"  Berlin,  April  14,  1905;  wrote 
criticism  for  the  "Frankfurter  Zei- 
tung,"  and  taught.  A  pupil  of  The 
Cologne  Conservatory,  under  Ferdinand 
Hiller,  1872,  Humperdinck  studied 
later  under  Lachner  and  Rheinberger 
in  Munich,  and  in  1879,  having  won 
the  Mendelssohn  scholarship  in  Berlin, 
visited  Italy,  where  he  met  Wagner. 
The  following  year  he  assisted  Wagner 
in  the  production  of  "  Parsifal,''  in 
Bayreuth.  In  1881  he  won  the  Meyer- 
beer prize  in  Berlin,  which  enabled 
him  to  visit  Southern  Europe  again, 
and  while  in  Spain  he  accepted  a 
post  in  the  Barcelona  Conservatory. 
In  1887  he  returned  to  Cologne,  and 
three  years  later  settled  in  Frankfort  as 
teacher  in  the  Hoch  Conservatory.  In 
1900  he  became  head  of  the  Berlin 
"  Meister-Schule."  In  1905-6  the 
composer  visited  the  United  States, 
where  he  supervised  the  revival  of 
"  Hansel  und  Gretel "  at  the  Metro- 
politan Opera  House,  New  York. 
Other  compositions  to  be  noted  are: 
the  chorals  "Das  Gliick  von  Eden- 
hall,  "Die  Wallfahrt  nach  Kevlaar," 
"  Humoreske,"  and  a  "  Maurische 
Rhapsodic "  for  orchestra.     B.   Sept. 

I,  1854,  Siegburg;    add.  Berlin. 
Humphrey     (Felham)     composed 

anthems,  Evening  Service  in  E  minor, 
songs;  sang  Eng.  Chapel  Royal  as 
chorister,  later  became  Master  of  the 
Children.  B.  1647;  d.  July  14,  1674, 
Windsor. 

Humphreys  (Samuel)  composed 
the  opera  "Ulysses";  prepared  Han- 
del's oratorio  "Esther"  for  perform- 
ance, 1732.     B.  about  1698;    d.  Jan. 

II,  1738,  Canonbuiy, 


HTTNEKEB 


282 


HYDRATTLICON 


Euneker  (James  Gibbons)  wrote 
"  Chopin,  the  Man  and  His  Music," 
New  York,  1900;  "  Melomaniacs,", 
1901 ;  criticism  for  "  Commercial  Ad- 
vertiser," "The  Recorder,"  and  music 
and  dramatic  criticism,  "  The  Sun," 
New  York;  "The  Raconteur"  depart- 
ment of  the  "Musical  Courier,"  New 
York;  ta tight  piano,  National  Con- 
servatory of  Music;  in  early  life  a 
candidate  for  Holy  Orders;  pupil  of 
Michael  Cross,  Philadelphia,  and  of 
Ritter  and  Doutreleau,  Paris.  B.  Jan. 
31,  1860,  Philadelphia;  add.  New 
York. 

Hunt  (Arabella)  became  court 
singer  and  teacher  of  Queens  Anne  and 
Mary  of  England.    D.  Dec.  26,  1705. 

Hunt  (Kichard)  made  viols  in  Lon- 
don and  published  (with  Humphrey 
Salter)  "The  Genteel  Companion  for 
the  Recorder,"  1683. 

Hunt  (Thomas)  composed  the  an- 
them "  Put  me  not  to  rebuke,"  and  the 
madrigal  in  six  parts  "  Hark !  did 
you  ever  hear  so  sweet  a  singing,"  pub- 
lished in  "  The  Triumphs  of  Oriana," 
London,  1601. 

Hiinten  (Franz)  composed  trio 
concertante  for  piano,  violin,  and 
'cello;  arranged  music ;  taught;  pupil 
of  Paris  Conservatoire.  B.  Coblentz, 
Dec.  26,  1793;  d.  Feb.  22,  1878, 
Coblentz. 

Hunter  (Anne)  wrote  and  com- 
posed the  song  "  Lady  Anne  Both- 
well's  Lament."  B.  1742;  d.  1821, 
London. 

Hunting  Horn.  General  term  ap- 
plied to  HORNS  employed  for  sound- 
ing signals  in  the  chase. 

Hunts-up.  Noisy  morning  song 
or  aubade. 

Hurdy-Gurdy.  Obsolete  instru- 
ment of  the  viol  family  having  four 
strings  with  a  compass  g  to  g".  The 
strings  were  stopped  by  means  of  keys, 
and  the  vibration  was  obtained  by  the 
revolution  of  a  wheel  coated  with 
rosin.  There  were  sometimes  addi- 
tional strings,  but  only  two  could  be 
acted  upon  by  keys,  the  others  serv- 
ing as  drone  bass. 

Hurlstone  (William  Yates)  com- 
posed a  piano  concerto  in  D,  "  The 
Magic  Mirror,"  a  fairy  suite,  string 


quartet  in  E  minor,  other  chamber 
music;  Five  Valses  for  piano  (his 
first  compositions) ,  at  the  age  of  nine; 
pupil  Royal  College  of  Music.  B.  Jan. 
7,  1876,  London;    add.    London. 

Hurry.  Tremolo  passages  for  vio- 
lin or  drum  roll,  in  stage  music. 

Hurtig.  Ger.  ALLEGRO;  quick; 
nimble. 

Husk  (William  Henry)  wrote 
"An  Account  of  the  Musical  Celebra- 
tions on  St.  Cecilia's  Day,"  London, 
1857,  and  other  contributions  to  mu- 
sical literature.  B.  Nov.  4,  1814, 
London;    d.  Aug.  12,  1887,  London. 

Hutpheson  (Francis)  composed  the 
madrigal  "  Return,  return  my  lovely 
maid,"  prize  glees  and  catches,  but 
being  a  physician,  published  his  works 
under  the  nom  de  plume  "Francis 
Ireland."    B.  1720,  Glasgow. 

Hutschenruijter  (Wouter)  com- 
posed the  opera  "  Le  Roi  de  Bohfime," 
sonata  for  'cello  and  piano;  masses, 
cantatas;  symphonies;  in  all  150 
works;  directed  concerts.  B.  Dec. 
28,  1796,  Rotterdam;  d.  Nov.  18, 
1878,   Rotterdam. 

Huygens  (Constantin)  composed 
769  airs  for  stringed  instruments; 
collected  music  and  instruments; 
wrote  on  music,  besides  being  a  dis- 
tinguished diplomat  and  statesman. 
B.  Sept.  4,  1596,  at  the  Hague;  d. 
Mar.  28,  1687.  Christian  wrote 
"Novus  Cyclus  harmonicus"  and 
other  books  on  theory,  treating  music 
as  a  branch  of  mathematics  and  spec- 
ulating upon  the  music  of  other 
spheres.  B.  April  14,  1629,  at  the 
Hague;  2d  son  of  CONSTANTIN;  d. 
June  8,  1695. 

Hydaspes.  Francesco  Mancini's 
opera  was  first  performed  May  23, 
1710,  at  the  Haymarket  Theatre,  Lon- 
don. Reference  to  it  will  be  found  in 
"The  Spectator,"  No.  13.  Mrs.  Au- 
bert's  parody,  "  Harlequin  Hydaspes," 
was  performed  1719  at  the  Lincoln's 
Inn  Fields  Theatre,  London. 

Hydraulioon.  Organs  in  which  the 
pressure  of  the^  air  was  regulated  by 
water,  said  to  'have  furnished  music 
at  the  ancient  gladiatorial  contests; 
invented  by  Ctesibius  of  Alexandria, 
300-350    B.  c.      References    ttf   water 


ETDBAtTLUS                 283  IDOlCENEO 

organs,  or  wind  instruments,  in  whidh  dore  Beza  and  Clement  Marot,  Geneva, 

the  pressure  was  regulated  by  a  col-  1542,  Calvin  followed  Luther's  policy 

umn  of  water,  are  frequently  to  be  of  employing  tunes  already  popular 

met  with  in  classic  writings,  but  they  with  the  people.    In  England,  as  with 

are  too  vague  to  permit  of  the  recon-  the    Huguenots    of    France,    metrical 

struction  of  the  instrument.  versions  of  the  psalms  were  received 

Hydraulus.     HYDEAULICON.  with   great    favour.     Hymns   proper. 

Hymn    Tunes    in    the    Christian  however,  were  unnecessary  in  the  lit- 

churches  date  back  to  the  era  of  St.  urgy  of  the  Anglican  church,  and  the 

AMBROSE,  who  was  the  first  to  in-  Dissenting  churches  were  the  first  to 

troduce  metrical  songs  of  praise  into  cultivate   hymnology  along  the  lines 

the  church  service,  where  the  singing  laid  down  by  Luther.     The  value  of 
had  previously  been  confined  to  the'  congregational    singing    having    been 

Psalms    and    Canticles.      Plain    Song  proven  by  numerous  religious  revivals 

wedded  to  verse  acquired  a  measured  conducted  by  other  denominations,  a 

rhythm  based   on  poetic  metre,   and  new  interest  in  hymns  was  aroused 

in  this  way  hymn  tunes  exercised  a  within   the   Anglican   Church,   which 

most  important  influence  in  the  de-  now  boasts  as  beautiful  and  as  elabo- 

velopment    of    modem    music.      The  rate  a  hymnal  as  any  Catholic  or  Prot- 

measured   music  thus   produced   con-  estant  body. 

tinned,  however,  to  be  employed,  along  Hyper.    6r.    "  Above."    The  prefix 

with    the    unmeasured   chants   which  was   applied   in   GREEK  MUSIC   to 

were    preferable    for    liturgical    pur-  MODES  one  fourth  above  the  Authen- 

poses  as  canti  firmi   for   the  MASS,  tic,  as  Hyper-Dorian, 

and  the   more   ancient  hymn  tunes,  Hyper-Diapason.     Or.    Super  oc- 

merged  in  Ambrosian  and  Gregorian  tave. 

collections  of  chants,  are,  like  them,  Hypo.     Or.    "  Below."    The  prefix 

of     unknovra     authorship.       In     the  applied  in  GREEK  MUSIC  to  MODES 

"  Hymni  Totius  Anni "  of  Palestrina,  one   fourth   below  the   Authentic,   as 

1589,  which  provides  a  collection  of  Hypo-Lydian;     hence  the   five   Grave 

hymns  for  all  festivals  of  the  church  Modes;    the  seven  Plagal  Modes, 
calendar,  arranged  for  from  three  to 
six  voices  in  that  master's  best  style, 

the  ancient  hymns  reached  their  great-  I.     It.    Plural  form  of  "  the." 
est    perfection.      The    modern    hymn  Iambus.     Metrical  foot  consisting 
dates  from  the   activities  of  Martin  of  a  short  and  a  long  syllable. 
Luther,   himself   a   writer   and   com-  lastian.     Or.    Ionian  MODE, 
poser  of  hymns.    Luther  was  probably  Ibach    (Jotannes    Adolf)    estab- 
the    first    religious    leader    to    adapt  lished    a    piano    factory    in   Barmen, 
popular  secular  tunes  to  sacred  songs.  1794,  and  also  built  organs.    B.  1766, 
The   first   Lutheran   hymnal,   in   the  Barmen;    d.  1848.     The  business  has 
preparation  of  which  he  assisted  Jo-  been  continued  by  his  descendants, 
hannes  Walther,  Wittenberg,  1524,  in-  Ictus.     Or.    Stress;    accent, 
eludes  the  most  popular  tunes  of  the  Idea.     Motive;    theme;   subject, 
day,  whether  sacred  or  secular.    "  Ein  Idee  Fixe.     Fr.    Recurring  theme 
Feste  Burg  ist  Unser  Gott,"  the  so-  analogous     to     Wagner's     "LEIT 
called  "  Battle  Hymn  of  the  Reforma-  MOTIF,"  as  employed  by  Berlioz, 
tion,"  may  be  safely  regarded  as  Lu-  Idomeneo   B&   di   Creta.     W.   A. 
ther's   own,   both   words   and   music.  Mozart's  three-act  opera,  to  book  by 
First  published  in  1529,  it  has  since  Abb6    Varesoo,    was    first    performed 
been  regarded  aS  the  best  type  of  the  Jan.  29,  1781,  at  Munich.     Although 
early  Protestant  hymn,  and  as  such  fairly  successful,  an  attempt  to  revive 
employed   as   typical   by   many   com-  it  in  Dresden,  1802,  failed,  and  sub- 
posers,  including  Meyerbeer  and  Wag-  sequent    attempts    to    restore    it  'to 
ner.     In  publishing  the  metrical  ver-  favour    in   Vienna    and   Milan   were 
sions  of  the  Psalms  prepared  by  Theo-  equally  unfortunate.     The  action  is 


IDYLL 


284 


IlIFBOFEKIA 


laid  in  Crete  after  the  fall  of  Troy. 
Ilia,  daughter  of  Priam'  and  Electra, 
daughter  of  Agamemnon,-  loves  Ida- 
mantes,  son  of  King  Idomeneus,  who 
is  returning  from  the  Siege  of  Troy. 
Idomeneus  vows  to  Poseidon  in  the 
midst  of  shipwreck  that,  if  his  life 
is  spared,  he  will  sacrifice  to  the  sea 
god  the  first  mortal  he  meets  on  land- 
ing. That  mortal  proves  to  be  his  son 
Idamantes, .  and  as  the  father  hesi- 
tates in  the  fulfilment  of  his  oath, 
Poseidon  sends  a  sea  monster  to  rav- 
age the  coast.  Idamantes  kills  the 
monster,  but  hearing  of  his  father's 
vow,  urges  .that  he  be  sacrificed  to  the 
god.  Ilia  offers  herself  as  her  lover's 
substitute,  and  touched  by  such  de- 
votion, Poseidon  relents,  and  contents 
himself  with  ordering  that  Idomeneus 
retire  from  the  throne  in  favour  of 
Idamantes,  whose  bride  Ilia  shall  be. 

Idyll.  Poem  in  short  but  elegant 
form,  often  having  a  pastoral  subject ; 
hence  musical  compositions  of  similar 
nature. 

II  Doppio  Movimento.  It.  Twice 
as  fast. 

II  Pine.    It.    The  end. 

II  Piu.  It.  The  most,  as  forte 
possibile,  as  loud  as  possible. 

Ilyinsky  (Alexander  Alexandro- 
vich)  composed  the  opera  "  Fountain 
of  Bakchiserai,"  the  cantatas  "  Strek- 
ozi,"  and  "  The  Roussalka  " ;  three 
suites,  a  symphony;  taught  in  Mos- 
cow Philharmonic  Society's  Music 
School  ;  pupil  of  Kullah  and  Bargiel, 
Berlin.  B.  Tsarskoe  Selo,  Jan.  24, 
1859;    add.  Moscow. 

Imbert  (Hughes)  wrote  musical 
essays  published  in  Eng.  trans,  as 
"  Studies  in  Music,"  1901 ;  edited  the 
"Guide  Musical"  (with  Kufferath), 
1889.  B.  Moulins-Engibert,  Nifevre, 
Jan.  11,  1842;    d.  Jan.  15,  1905. 

Imboccatura.     /*.     Mouthpiece. 

Imbroglio.  Simulated  confusion, 
as  when  groups  of  singers  or  per- 
formers in  opera  are  seemingly  en- 
gaged in  independent  action. 

Imitation.  The  repetition  by  a 
second  voice  of  the  theme  or  subject 
alrfeady  announced  by  the  first.  An 
exact  imitation  constitutes  a  CANON, 
but  whether  strict  or  free,  this  de- 


vice is  of  fundamental  importance  in 
FUGUE  or  other  variety  of  COUN- 
TERPOINT. 

Immer.     Ger.    Always,  constantly. 

Immyna  (John)  founded  the  Lon- 
don Madrigal  Society,  1741;  became 
lutenist  to  the  Eng.  Chapel  Royal. 
D.  April  15,  1764,  London.  John 
played  organ  and  'cello.  Sou  of 
JOHN;    d.   1794. 

Impaziente.    It.    Impatient. 

Impazientemente.  It.  Impa- 
tiently. 

Imperfect  has  various  arbitrary 
meanings  as  applied  to  music.  Be- 
cause of  the  association  of  the  number 
three  with  the  idea  of  the  Trinity 
triple  time  was  called  Tempus  Per- 
fectus  by  the  church  musicians,  and 
duple  time  therefore  became  Tempus 
Imperfectus.  Imperfect  CADENCES 
are  those  which  do  not  give  a  com- 
plete sense  of  rest.  Imperfect  IN- 
TERVALS are  those  a  semitone  less 
ths^n  perfect.  Imperfect  CONSO- 
NANCES are  thirds  and  sixths  as 
opposed  to  fourths  and  fifths.  Im- 
perfect STOPS  are  those  in  which 
pipes  are  not  extended  throughout  the 
compass  of  an  organ  manual. 

Imperioso.     /*.     Imperiously. 

Impeto,  con.    It.    Impetuously. 

Impetuosamente.  It.  Impetu- 
ously. 

Impetuoso.     It.     Impetuously. 

Implied  Discord.  Concord  within 
a  dissonant  chord. 

Implied  Intervals.  Intervals  not 
noted  in  Thoroughbass. 

Imponente.  It.  Emphatic  aJid 
pompous. 

Impresario.  It.  Manager  of 
operas  or  concerts. 

Impresario.  French  name  of  Mo- 
zart's "  Schauspieldirektor." 

Impromptu.  Extempore  perform- 
ance; music  having  the  character  of 
extempore  composition. 

Improperia.  L.  "  Reproaches.'' 
Antiphons  and  Responses  which  are 
sung  .in  Roman  Catholic  churches  on 
Good  Friday  in  place  of  the  MASS  to 
Plain  Song  melodies.  Palestrina's  ar- 
rangement of  Faux  bourdons,  1560,  are 
still  sung  upon  this  solemn  fast  in 
the  Sistine  Chapel,  Rome. 


IMPROVISATETTB 


285 


IKGEGITEBI 


Improvisateur.     Fr.     Improviser. 

Improvisation.  Extempore  per- 
formance. 

Improwisamente.  It.  Extem- 
pore ;    tmprepared. 

Improvvisare.    It.    To  improvise. 

Improwisatore.     It.     Improviser. 

In  Alt.  It.  Notes  ia  the  first  oc- 
tave above  the  treble  stave. 

In  Altissimo.  It.  Notes  above 
the  first  octave  IN  ALT. 

In  ITomine.  Free  Fugue;  sacred 
composition  in  which  the  words  are 
employed  as  "  In  nomine  Jesu." 

In  Questa  Tomba  Oscura  is  the 
name  of  a  song  by  Carpani  which  was 
given  63  settings  by  various  musicians 
at  the  request  of  Countess  von  Rze- 
wuska.  Only  that  of  Beethoven  for 
con.  with  piano  accompaniment  has 
survived. 

Incalzando.  It.  Pressing  on; 
voicing  a  spell  or  charm. 

Incamatus.  L.  "  Was  born." 
Part  of  the  CREDO. 

Inch.  Watergauge  for  ascertain- 
ing wind  pressure  in  organs.  Three 
inches  ia  the  mean  pressure. 

Inchoatio.  L.  Intonation  or  first 
notes  of  a  Plain  Song. 

Incidental  llusic  is  that  which 
accompanies  the  action  of  a  drama. 

Incledon  (Charles  Benjamin)  sang 
ten.  in  English  opera  and  concert; 
toured  America,  1817;  known  as  "  the 
Wandering  Melodist";  in  boyhood, 
chorister  at  Exeter  Cathedral  and  in 
early  manhood  a  sailor.  B.  1763,  St. 
Kevern,  Cornwall.;  d.  Feb.  11,  1826, 
Worcester,  Eng.  Charles  Venazlo 
sang  in  London  opera;  taught  in  Vi- 
enna. Son  of  CHARLES  BENJA- 
MIN;   d.  1865,  Bad  Tflflfer. 

Incorporated  Society  of  Musi- 
cians was  founded  1882  by  James 
Dawber,  of  Wigan,  and  Dr.  Henry 
Hiles  of  Manchester,  Eng.,  incorpo- 
rated, 1892,  and  established  headquar- 
ters in  London.  It  is  a  national 
organization,  having  25  sections 
intended  to  promote  the  interests 
of  music  and  musicians  in  Great 
Britain. 
Indifferente.  It.  IndiflFerent. 
Indifferentemente.  It.  Indiffer- 
ently. 


IndifEerenza,  con.  /*.  With  indif- 
ference. 

Indy,  d'  (Paul  Marie  Theodore 
Vincent)  composed  the  symphonic 
trilogy  "  Wallenstein  "  (Piceolomini, 
Camp  de  Wallenstein  and  Mort  de 
Wallenstein) ;  the  operas  "  Fervaal," 
and  "  L'Etranger,"  Brussels,  1897, 
1903,  for  both  of .  which  he  wrote 
librettos;  the  dramatic  legend  "Le 
Chant  de  la  Cloche,"  City  of  Paris 
prize,  1884;  helped  found  the  Paris 
Schola  Cantorum,  where  he  was  di- 
rector and  taught  composition.  Pupil 
of  C€sar  Franck,  Paris  Conservatoire, 
d'Indy  became  ehorusmaster  to  Co- 
lonne,  1875;  played  drum  in  orchestra 
three  years  to  learn  instrumentation; 
helped  organize  and  direct  the  Lamou- 
reux  concerts;  became  inspector  in 
the  Paris  schools.  Chevalier  of  the 
Legion  of  Honor.  Other  works  to  be 
noted  are :  the  symphony  "  Jean  Hun- 
yadi,"  overture  to  "  Anthony  and 
Cleopatra,"  "La  For6t  Enchantee," 
quartet  in  A  for  piano  and  strings, 
symphonic  ballad;  the  scena  for  bar. 
and  chorus,  "  La  Chevauchge  du  Cid," 
the  orchestral  legend  "  Sangfleurie," 
suite  in  D  for  trumpet,  two  flutes  and 
string  quartet;  symphony  for  piano 
and  orchestra;  the  orchestral  suite 
"  Tableaux  de  Voyage,"  symphony 
"  Cevenole,"  symphony  in  B  flat,  Op. 
57,  Lamoureux  concerts,  1904;  the 
operetta  "  Attendez-moi  sous  I'orme," 
Paris  OpSra  Comique,  Mar.  12, 
1882;  incidental  music  to  "  Karadec  " 
and  "Mgdee";  chamber  music  and 
songs.  B.  Mar.  27,  1851,  Paris;  add. 
Paris. 

Inferior.     Lower. 

Infinite  Canon.  CANON  that  can 
be  perpetually  repeated. 

Inflexion.  Change  from  the  mono- 
tone in  chanting;  modiflcation  of 
pitch. 

Inganno.  /*.  "Deception."  De- 
ceptive CADENCE. 

Ingegneri  (Marc  Antonio)  com- 
posed 27  Besponsoria  for  Holy  Week, 
long  attributed  to  Palestrina,  masses, 
motets,  and  madrigals;  choirmaster, 
Cremona  Cathedral;  pupil  of  Ruffo 
and  teacher  of  Monteverde.  B.  Ver- 
ona about  1550;    d.  1592,  Verona. 


INGLOTT 

luglott  (William)  played  and 
composed  for  virginals ;  organist  Nor- 
wich Cathedral,  1608.  B.  1554;  d. 
1621,  Norwich. 

Inhalt.     Ger.    Contents;    idea. 

Inner  Farts.  Intermediate  har- 
mony. 

Inner  Fedal.  Sustained  note  on 
an  inner  part  in  organ  music. 

Innig.  &er.  With  feeling  and 
expression. 

Inno.    It.    Hymn. 

Innocente.     It.    Innocent. 

Innocentemente.    It.    Innocently. 

Innocenza,  con.  It.  With  inno- 
cence. 

Inquieto.     It.    Agitated,  restless. 

Insanguine  (Giacomo)  composed 
"  Didone  abbandonata,"  and  in  all  15 
operas,  a  Passion  and  other  church 
music.  B.  near  Naples  about  1740; 
d.  1795,  Naples. 

Inscriptio.  L.  Inscription  or 
motto  employed  in  obsolete  notation 
to  aid  in  the  solution  of  enigmatical 
canons. 

Insensibile.     It.     Imperceptibly. 

Instrument.  Mechanism  for  the 
production  of  musical  sound.  The 
modern  ORCHESTKA  contains  three 
principal  divisions  of  Instruments: 
Strings,  including  all  instruments  of 
the  viol  family  and  the  harp;  Wind, 
subdivided  into  brasses  and  wood- 
winds, the  former  including  trumpets, 
horns,  trombones,  etc.,  the  latter  fltites, 
clarinets,  oboes,  etc.;  Percussion,  in- 
cluding kettledrum's,  bass  drums,  cym- 
bals, etc.  A  description  of  each  in- 
strument is  given  under  its  proper 
head. 

Instrument  &  I'Archet.  Fr.  Bow 
instrument. 

Instrumenta  a  Corda.  It.  String 
instrument. 

Instrument  &  Cordes.  Fr.  String 
instrument. 

Instrument  h  Vent.  Fr.  Wind 
instrument. 

Instrumentation.  The  art  of 
composing  or  writing  music  for  OBr- 
CHESTRA. 

Instrumentirung.  Oer.  Instru- 
mentation. 

Instrumento  da  Fiato.  It.  Wind 
instrument. 


286  INTERVAL 

In  Tempo.    It.    In  strict  time. 

Intavolare.  /*.  To  write  out  or 
copy  music. 

Interlude.  Music  performed  be- 
tween certain  parts  of  the  church 
service,  between  verses  or  hymns; 
generally  in  the  form  of  organ  vol- 
untaries. 

Intermede.     Fr.    Interlude. 

Intermedietto.  It.  Short  inter- 
lude. 

Intermedio.     It.    Interlude. 

Intermezzo.  It.  Dramatic  inter- 
lude, consisting  either  of  an  instru- 
mental or  vocal  piece  performed  be- 
tween the  acts.  Intermezzi  were  feat- 
ures of  early  Italian  drama  and  opera, 
and  gradually  developed  their  own  in- 
dependent form  as  OPERA  BUPFA, 
which  were  later  given  separate  per- 
formance, the  ballet  divertissement 
thereafter  serving  as  intermezzi  for 
grand  opera. 

Internationale  SCusikgesellschaft 
was  founded  by  Prof.  Oskar  Fleischer, 
Dr.  Max  SeiflFert,  and  others,  1899,  as 
an  international  federation  of  musi- 
cians. The  society  is  divided  in  local 
groups  and  national  sections,  all  of 
which  are  assembled  through  repre- 
sentation in  Congresses  at  stated  in- 
tervals. The  publications  include  the 
monthly  journal  "  Zeitschrift,"  a  quar- 
terly magazine,  "  Sammelbande,"  and 
books,  now  numbering  nearly  a  score, 
all  of  which  are  issued  by  Breitkopf 
&  Hartel,  Leipsic.  Prof.  Hermann 
Kretzschmar  was  elected  chairman  of 
the  governing  body  at  the  Leipsic  Con- 
gress of  1904.  The  publications  are  in 
German,  French,  Italian,  and  English. 

Interrupted  Cadence.  False  or  de- 
ceptive CADENCE. 

Interruzione,  senza.  It.  With- 
out interruption  or  pause. 

Interval.  The  difference  in  pitch 
between  two  tones.  The  nomenclature 
of  intervals  has  become  greatly  con- 
fused, owing  to  the  fact  that  theorists 
have  confounded  the  systems  of  the 
ancient  Greeks  and  the  mediaeval 
church  musicians  with  those  devised 
by  modem  harmonists.  The  simplest 
and  most  desirable  system  is  that 
which  prevails  in  Germany,  according 
to  which  intervals  are  reckoned  up- 


INTIMO                      281f  IONIAN  MODE 

ward  from  the  tonic  as  shown  in  the  Intoning.     Chanting, 
following  examples :   C  to  D  is  a  major  Intovolatura.    /*.    Notation;  tab- 
second;   C  to  D  flat  is  a  minor  second;  lature;    figured  bass. 
G  to  D  sharp  is  an  augmented  second.  Intrada.    It.    Opening  movement; 
The  interval  of  the  fifth  becomes,  if  C  interlude  or  entr'acte. 
to_  G,  a  major  fifth;    C  to  6  flat,  a  Intrepidamente.      It.      Boldness, 
minor  fifth;    C  to  G  sharp,  an  aug-  courage. 

mented  fifth;  C  to  G  double  flat,  a  Intrepidezza,  con.  It.  With  in- 
diminished  fifth.     The   Greeks   rated  trepidity. 

the  Unison,  Octave,  Fifth,  and  Fourth  Introducimeato.      It.      Introduo- 

as  consonant  and  therefore  more  per-  tion. 

feet  intervals  than  Thirds  or  Sixths,  Introduction.  Preliminary  pas- 
which  were  dissonances.  Mediseval  sages  in  music  which  lead  up  to  move- 
theorists  classed  the  Unison  and  Oc-  ments  or  acts. 

tave  as  perfect;  the  Fourth  and  Fifth  Introduzione.  If.  Introduction, 
as  medium;  the  Third  and  Sixth  as  Introitus.  L.  "Entrance."  An- 
imperfect  intervals.  A  later  genera-  tiphons  sung  by  the  choir  at  the  be- 
tion  of  theorists,  whose  followers  are  ginning  of  the  MASS,  music  for  which 
still  with  U8,  held  that  intervals  must  is  found  in  the  Gregorian  Graduate, 
be  classed  as  consonant  or  dissonant.  Invention.  J.  S.  Bach's  name  for  15 
or  Perfect  and  Imperfect.  The  perfect  small  clavier  pieces;  suites  de  pieces; 
Fourth,  Fifth,  and  Eighth,  and  the  creation  of  new  melody  or  harmony, 
imperfect  Third  and  Sixth  came  in  the  Invenzione.  It.  Invention, 
first  class ;  the  Second,  Seventh,  and  Inversion.  Transposition  of  parts, 
all  augmented  or  diminished  inter-  themes,  chords,  or  intervals.  When  a 
vals  in  the  second.  Under  this  nomen-  part  is  raised  in  COUNTERPOINT  by 
clature  a  perfect  Fifth  flattened  by  an  an  octave,  the  result  is  "  Inversio  in 
accidental  would  be  classed  as  imper-  octavam  acutam."  When  a  part  is 
feet,  so  in  this  system  the  interval  lowered  in  the  same  manner  it  be- 
C  to  G  flat  would  be  called  a  dimin-  comes  "  Inversio  in  octavam  gravem " 
ished  fifth.  Intervals  within  the  oc-  or  "  Inferiorem."  Parts  are  often  in- 
tave  are  called  Simple.  Intervals  ex-  verted  at  the  5th,  10th,  or  12th. 
ceeding  an  octave  are  called  Com-  Themes  may  be  inverted  by  being  re- 
poimd.  Those  containing  tones  for-  peated  backward,  "  Inversio  _  Cancri- 
eign  to  the  key  are  called  Chromatic,  zans "  or  retrograde  inversion.  A 
Intervals  between  two  tones  of  a  major  chord  may  be  inverted  as  often  as  it 
scale  are  called  natural,  normal,  or  has  tones,  the  root  excepted,  by  mak- 
major.  Greater  intervals  are  called  ing  an  inner  note  serve  as  the  bass, 
pluperfect,  extreme,  sharp,  and  super-  The  inversions  of  an  interval  are  pro- 
fluous,  or  augmented.  duced  by  raising  the  lower  tone  an 
Intimo.  /*.  Intimate.  octave  or  lowering  the  higher  tone  an 
Intonare.  It.  To  intone.  octave.  Within  the  octave  the  inver- 
Intonation.  The  phrase  preceding  sion  of  an  interval  may  be  found  in 
the  reciting  note  in  Gregorian  chants;  the  difference  between  the  known  in- 
method  of  chanting  portions  of  the  terval  and  the  figure  9,  thus  a  5th 
church  services  indicated  by  accent;  inverted  becomes  a  4th;  a  6th  a  3d. 
the  production  of  sound  by  voice  or  Pedal  Point  is  said  to  be  inverted 
instrument.  Correct  intonation  means  when  it  is  transferred  from  the  low- 
in  tune;  false  intonation,  out  of  tune;  est  to  an  upper  part  in  the  harmony, 
just  intonation  refers  to  non-tern-  Invitatorium.  Antiphon  at  the 
pered  scale,  possible  in  concerted  music  beginning  of  Matins.  In  the  Anglican 
for  voice  or  strings,  but  not  for  key-  Church  the  term  is  sometimes  applied 
board  instruments  of  equal  TEMPER-  to  the  95th  Psalm. 
AMENT  Invitatory.  Invitarorium. 
Intonator.  Monochord.  Ionian  Mode.  The  Church  MODE 
Intonazione.    /*.    Intonation.  ending  on  C. 


IFEBMESTBA 


288 


IPPOLITOV-IVANOV 


Ipermestra.  Metastasio's  opera 
libretto  was  composed  by  Galuppi, 
Gluck,  Hasse,  Jommelli,  and  Sarti  — 
in  all  18  times. 

Iphig€nie  en  Aulide.  Christoph 
Willibald  von  Gluck's  three-act  opera, 
to  book  by  Bailli  du  Kollet,  based  on 
Bacine's  tragedy,  was  first  performed 
April  19,  1774,  at  the  Paris  Academic. 
IphigSnie,  daughter  of  Agamemnon 
and  Clytemnestra,  arrives  with  her 
mother  in  Aulis  after  Ealchas,  high 
priest  of  Artemis,  has  announced  to 
her  father  that  only  upon  the  sacri- 
fice of  Iphigenie  will  the  Greeks  be 
accorded  a  favourable  breeze  to  waft 
them  to  Ilion.  Agamemnon,  torn  by 
the  conflict  between  his  duty  as  a 
leader  and  his  paternal  love,  agrees 
to  the  sacrifice.  As  Achilles,  to  whom 
Iphiggnie  is  betrothed,  prepares  to 
lead  her  to  the  altar,  Agamemnon's 
messenger  announces  the  bride's  doom. 
Clytemnestra  appeals  to  Achilles  to 
protect  her  daughter,  and  he  swears 
to  do  so.  Only  Iphig€nie  seems  re- 
signed to  the  fate  appointed  her,  for 
at  the  last  Agamemnon  determines  to 
send  his  daughter  and  wife  into  hid- 
ing until  the  wrath  of  the  goddess  can 
be  appeased.  The  people  demand  the 
sacrifice  be  consummated,  however, 
and  despite  the  pleading  of  Achilles 
and  the  anguish  of  her  mother,  Iphi- 
genie permits  herself  to  be  led  toward 
the  altar.  Achilles,  followed  by  his 
Thessalian  warriors,  attempts  a  res- 
cue, and  as  the  High  Priest  hesitates 
amid  the  tumult,  Iphigenie  invokes 
Artemis,  and  the  Goddess  appears  to 
tell  her  servant  that  she  demands  not 
the  blood  but  the  mind  of  Iphiggnie, 
who  shall  become  her  priestess,  and 
atone  the  sins  of  Atreus.  A  wind 
favourable  to  the  Greeks  springs  up 
as  the  Goddess  vanishes,  and  the  host 
joyously  sings  Artemis'  praise.  Up 
to  1824  this  opera  had  received  428 
performances.  Wagner's  arrangement 
of  the  words  and  score  was  presented 
in  Dresden,  Feb.  22,  1859. 

Iphigenie  en  Tauride.  Christoph 
Willibald  von  Gluck's  four-act  opera, 
to  book  by  Guillard,  was  first  per- 
formed May  18,  1779,  at  the  Paris 
Academic.    It  relates  the  second  part 


of  the  adventures  of  the  heroine,  and 
is  said  to  conform  closer  to  the  Greek 
tragedy  than  its  sister  opera.  In  this 
work  Iphigenie  is  disclosed  after  15 
years'  service  as  high  priestess  of  Ar- 
temis in  Tauris,  where  human  sacri- 
fices are  the  usual  thing.  Thoas,  King 
of  Tauris,  has  ordered  the  sacrifice  of 
two  strangers,  but  learning  they  are 
her  countrymen,  Iphigenie  resolves  to 
save  one  of  them  by  sending  him  back 
as  a  messenger  to  her  sister  Electra. 
Although  forewarned  in  a  dream  that 
her  mother  has  been  killed,  and  that 
she  is  in  danger  of  sacrificing  her 
brother,  the  High  Priestess  does  not 
know  that  one  of  the  strangers  is, 
in  fact,  her  brother  Orestes,  who,  hav- 
ing slain  their  mother,  has  fled  from 
home,  pursued  by  the  Furies,  accom- 
panied by  his  friend  Pylades.  The 
two  young  men  generously  dispute 
which  shall  carry  Iphigenie's  message, 
but  by  professing  to  be  weary  of  life, 
Orestes  induces  Iphigenie  to  choose 
him  for  the  holocaust,  Pylades  as  the 
messenger.  While  Iphigenie  prepares 
for  her  sacred  duty  the  mention  of 
her  name  by  Orestes  reveals  their  re- 
lationship, and  the  Priestess  is  unable 
to  fulfll  her  duty.  King  Thoas,  who 
has  heard  that  one  of  the  strangers 
has  departed,  enters  to  demand  an 
explanation.  Iphigenie  tells  him  the 
truth,  and  implores  him  to  spare  the 
son  of  Agamemnon.  The  King  re- 
solves that  both  Orestes  and  Iphi- 
genie shall  die,  but  Pylades  returns, 
accompanied  by  some  friends,  stabs 
Thoas,  and  rescues  Orestes  and  Iphi- 
genie, aided  by  the  Goddess  Artemis 
herself,  who  decrees  the  pardon  of 
Orestes,  and  permits  him,  with  his 
sister,  Pylades,  and  their  friends,  to 
return  to  Aulis.  The  episodes  which 
form  the  subject  matter  of  Gluck's 
operas  were  treated  as  tragedy  by 
Euripides.  The  stories  above  set 
forth  have  been  set  as  operas  by  about 
thirty  different  composers.  The  Gluck 
operas  have  been  performed  probably 
not  less  than  1000  times,  while  the 
rest  are  wholly  forgotten. 

Ippolitov-Ivanov  (Michael  Mik- 
hailovitch.)  composed  the  operas 
"Kuth,"  Tiflis,  1887;  "Asra,"  "As- 


ISA,  CON 


289 


ITALIAN  SIXTH 


sya,"  Moscow  Private  Opera,  1900;  girl,  but  run  away  through  fear.  The 
overtures,  chamber  music,  songs;  con-  egoisms  of  Osaga,  Kyoto,  and  II 
ducted  Choral  Society  and  Private  Cieco  (in  other  words  their  spirits) 
Opera,  and  taught  Moscow  Conserva-  comment  on  the  situation,  fulfilling 
tory ;  wrote  "  On  the  National  Songs  the  function  of  the  old  Greek  chorus, 
of  Georgia  " ;  pupil  of  Rimsky-Kor-  Iris  cries  in  agony,  and  then  is  heard 
sakov,  St.  Petersburg  Conservatory,  the  chorus  of  the  Sun,  with  vriach  the 
B.  Nov.  19,  1859,  Gatchina;  add.  opera  opened,  and  under  the  influence 
Moscow.  of  the  mighty  orb  flowers  spring  up 
Ira,  con.  It.  With  anger.  about  the  girl  who  is  lifted  upward, 
Irameute.  It.  Wrathful.  dying  but  apotheosized. 
Iris.  Pietro  Mascagni's  three-act  Irish.  Bagpipe.  The  only  BAG- 
opera,  to  book  by  Luigi  lUica,  was  PIPE  having  a  diatonic  scale, 
first  performed  at  the  Costanzi  Thea-  Irish  Harp.  Was  the  prototype 
tre.  Home,  Nov.,  1898,  withdrawn  of  the  Italian  HARP  from  which 
for  revision,  and  again  performed  at  the  modern  instrument  has  been  de- 
La  Scala,  Milan,  Jan.,  1899,  and  pro-  veloped. 


duced  in  New  York  under  the  direc- 
tion of  the  composer,  Oct.  16,  1902, 
and  revived  at  the  Metropolitan  Opera 
House  during  the  season  of  1907-8.  It 
cannot  be  said  to  have  attained  the 
popularity  of  "  Cavaleria  Rusticana,' 


Irlandais.    Fr.    In  Irish  style. 
Ironicamente.     It.    Ironically. 
Ironlco.    /*.    Ironical. 
Irresoluto.    It.    Irresolute. 
Isaac     (Heinrlcli)     composed     23 
masses,  motets,  songs,  including  "Inns- 


but,  as  interpreted  by  Mascagni,  bruch  ich  muss  dich  lassen,"  which 
seemed  to  the  writer  to  possess  even  J.  S.  Bach  employed  as  a  chorale  in 
greater  merit.  It  is  professedly  Jap-  his  St.  Matthew  Passion;  organist  at 
anese  in  its  allegory  and  its  mysti-  the  Medici  Chapel,  Florence,  1477-93; 
cism,  and  is  actually  so  in  some  few  composer  to  the  Emperor  at  Inns- 
melodic  passages  which  the  composer  bruch,  1497-1515.  B.  Netherlands 
is  said  to  have  obtained  from  Japa-  about  1450;  d.  Florence  about  1528. 
nese  diplomats.  Iris,  daughter  of  an  Isham  CJolm)  composed  the  2-part 
old  blind  man,  or  "II  Cieco,"  has  song  "  Bury  delights  my  roving  eye  " ; 
grown  to  lovely  maidenhood  in  her  played  organ.  B.  1680;  d.  1726, 
father's  cottage,  but  has  the  misfor-  London. 

tune  to  attract  the  attention  of  Osaka,  Isochronism.       Periodical     recur- 

a   dissolute    noble,   who   engages   the  rence  of  vibration, 

pander  Kyoto  to  bring  her  to  his  den  Ison.     Qr.     Tonic  of  the  chant  in 

in  the  Yoshiwara.     The  abduction  is  Greek  Church  music, 

accomplished  while  Iris  is  an  inter-  Israel  in  Egypt.   George  Frederick 

ested    spectator    at    a    puppet    show.  Handel's   fifth   English   oratorio   was 

The   girl   mistakes  the   splendid  fur-  first  performed   in  London,  April   4, 

nishings  of  Osaka's  bachelor  quarters  1739.    Much  of  the  music  was  cribbed 

for  paradise,  but  when  Osaka  appears,  from  Stradella,  Kerl,  Erba,  and  from 

asks  to  be  sent  back  to  her  father,  the  composer's  own  earlier  works. 

Finding  his  wiles  of  no  avail  against  _  Istesso.     /*.     The  same;    Tempo, 

the   innocence  of  the  maiden,   Osaka  time.                       ,,     t    x           i 

turns  her  over  to  Kyoto,  who  exhibits  Istrumento.     7*.     Instrument, 

her  to   the  crowd  in  the   street.     II  .Isuf^d  (Nicolo)   composed      Lav- 

Cieeo  who  is  among  the  crowd,  learns  viso  ai  Maritati,"     Jeannot  et  Golm, 

of  Cpresencr^d  believing  that  she  Paris,  1814;    «  CenMlon,"  in  all  46 

had  gone  to  the  Yoshiwara  of  her  own  operas;    ot-ganist  and  chapelmaster  to 

accord,  curses  her,  and  overcome  with  the  Knights  of  Malta     B  Malta,  Dec. 

shame  and  terror,  Iris  leaps  from  her  6,  1775;   d.  Mar^  23,  1818,  Pans, 

window   into  the  outlet  of  a  sewer.  Italian  Sixth.     Extreme  Sixth  or 

In  the  third  act  scavengers,  who  have  chord  consisting  of  tess  note,  a  major 

been  working  near  the  sewer,  see  the  third,  and  sharp  sixth. 

19 


ITALIAN  STRINGS 


290' 


JACOBI 


Italian  Strings  are  considered 
truer  and  more  transparent  than  or- 
dinary viol  strings.  The  principal 
factories  are  in  Rome. 

Italiana  in  Algieri,  Giacchino 
A.  Rossini's  two-act  comic  opera,  to 
book  by  Anelli,  was  first  performed  in 
Venice.'lSlS.  Later  there  were  French 
and  English  versions. 

Italiano.    It.    Italian-  style. 

Italienne.    Fr.    Italian  style. 

Ite,  Missa  Est  Ecclesia.  L.  "  De- 
part, the  congregation  is  dismissed." 
The  concluding  sentence  of  the  MASS, 
which  takes  its  name  from  Missa. 

Ivanhoe.  Sir  Arthur  Sullivan's 
three-act  romantic  opera,  to  book  by 
Julian  Sturgis,  was  first  performed 
Jan.  31,  1891,  at  the  Royal  English 
Opera  House,  London. 

Ivanofl  (Nicholas)  sang  ten.  in 
London  opera,  1834-37.  B.  1809, 
Italy;    d.  July  8,  1880,  Bologna. 

Ives  (Simon)  composed  music  for 
Shirlejr's  masque  "  The  Triumph  of 
Peace,"  London,  1634;  songs,  catches, 
vicar  choral  of  St.  Paul's,  and  minor 
prebendary  after  the  Restoration.  B. 
1600,  Ware,  Eng.;  d.  July  1,  1662, 
London. 

lyry,  d  (Uarquis  Paul  Xavier 
Desire  Richard)  composed  the  operas 
"Les  Amants  de  V6rone,"  "Patma," 
"  Quentin  Matsys,"  "  La  Maison  du 
Docteur,"  "  Oinphale  et  Penelope," 
"  Perseverance  d'amour."  His  best 
work,  "Les  Amants  de  VSrone,"  was 
composed,  but  not  produced  before 
Gounod's  "  Romeo  et  Juliette."  A  re- 
vision produced  at  Covent  Garden  bore 
the  latter  title.  B.  Feb.  4,  1829, 
Beaune;    d.  Dec.  18,  1903,  Hyeres. 

Izac  or  Tsack.  Corrupted  spell- 
ings of  the  name  of  ISAAC. 


Jaches  or  Jacomo  composed  four 
books  of  motets,  1571;  organist  to 
the  Duke  of  Ferrara  and  chapelmaster 
at  Modena  and  Reggio.  He  was  vari- 
ously known  as  Brumel  arid  Gallico 
and  Jaches  da  Ferrara;  probably  son 
of  ANTOINE  BRUMEL;  Ferrara, 
16th  century. 

Jachet  was  the  name  of  several 
16th   century   composers.     Buus    or 


von  Faus  played  organ  at  St.  Mark's, 
Venice,  1550,  and  to  Emperor  Ferdi- 
nand I,  Vienna,  1553-64;  composed 
chansons,  and  a  volume  of  Ricercari, 
one  of  the  first  collections  of  organ 
music  to  be  published,  1547;  madri- 
gals. Probably  native  of  Bruges. 
Da  Itlantua  composed  masses,  motets ; 
sang  at  Mantua  Cathedral,  1527-58; 
chapelmaster  to  the  Duke  of  Mantua 
and  the  Cardinal  bishop  of  Mantua. 
Others  of  the  name  are  referred  to 
under  the  headings  JACHES,  BER- 
CHEM,  VAET,  and  WERT. 

Jack.  Wooden  upright  attached  to 
the  key  and  bearing  the  thorn,  quill, 
or  leather  plectrum  by  which  the 
strings  of  instruments  of  the  harpsi- 
chord family  were  set  in  vibration. 
Jackson  composed  Irish  bagpipe 
melodies,  including  "  Over  the  Water," 
"Welcome  Home,"  "The  Morning 
Brush";  18th  century,  published  in 
folio,  1790,  by  Edmund  Lee,  Dublin. 
Jackson  (John)  composed  a  ser- 
vice in  C,  chants,  the  anthem  "  The 
Lord  said  unto  my  Lord";  played 
organ,  Wells  Cathedral,  1674-88. 

Jackson  (William)  composed  the 
opera  "  The  Lord  of  the  Manor,"  to 
Gen.  Burgoyne's  book,  Drury  Lane, 
London,  Dee.  27,  1780;  the  comic 
opera  "  The  Metamorphosis,"  Drury 
Lane,  1783;  songs,  church  music; 
organist,  lay  vicar,  and  Master  of 
Choristers,  Exeter  Cathedral;  called 
"Jackson  of  Exeter."  B.  May  29, 
1730,  Exeter;     d.  July  5,  1803. 

Jackson  (William)  composed  Psalm 
ciii  for  soli,  chorus,  and  orchestra; 
the  oratorios  "  Deliverance  of  Israel 
from  Babylon,"  "  Isaiah,"  a  mass,  ser- 
vices, glees;  sang,  played  organ;  con- 
ducted Bradford  Choral  Society;  pub- 
lished music  in  partnership  with  Wil- 
liam Winn;  wrote  "Manual  of  Sing- 
ing." B.  Jan.  9,  1815,  Masham;  d. 
April  15,  1866. 

Jacob  (Benjamin)  composed  psalms 
and  glees;  edited  "National  Psalm- 
ody," London,  1817;  played  organ; 
conducted  oratorios.  B.  April  1,  1778, 
London;    d.  Aug.  24,  1829. 

Jacobi  (Georges)  composed  the 
"  Black  Crook  "  and  in  all  103  ballets, 
during  an  association  of  26  years  with 


JACOBSOHN  291 

the  Alhambra,  London;  incidental 
music  for  "The  Dead  Heart"  and 
'  Robespierre,i'  two  concertos  for  vio- 
lin; concertino  for  viola,  songs; 
played  violin  Paris  Grand  Op6ra;  di- 
rected Bouflfes  Parisiens  and  at  the 
Alhambra,  London;  taught  Royal 
College  of  Music,  London;  Offlcier  de 
I'Acadfimie  and  Knight  Commander 
Order  of  Isabella  the  Catholic.  B. 
Berlin,  Feb.  13,  1840;    add.  London. 

Jacobsolm  (Simon  E.)  taught  vio- 
lin Cincinnati  College  of  Music,  later 
in  Chicago;  coneertmeister,  Theodore 
Thomas  Orchestra,  1872,  New  York; 
pupil  of  the  Leipsic  Conservatory, 
and  in  early  manhood  coneertmeister 
Bremen  Orchestra.  B.  Dec.  24,  1839, 
Mitau,  Kurland;    add.  Chicago. 

Tacotin  composed  the  chansons 
"Mon  triste  coeur"  and  "Trop  dure 
m'est  ta  longue  demeure,"  church  mu- 
sic; sang  Antwerp  Cathedral,  1479- 
1528;  called  also  Jacob  Godebrie  and 
Jacobus  Godefridus;  may  have  been 
identical  with  the  Jacotin  or  Jacotino 
attached  to  the  court  of  Milan,  1473- 
94. 

Jacquard  (Leon  Jean)  composed 
Fantasias  for  'cello;  taught  'cello 
at  Paris  Conservatoire,  of  which  he 
has  been  a  prize  pupil.  B.  Nov. 
3,  1826,  Paris;  d.  Paris,  Mar.  27, 
1886. 

Jadassohn  (Solomon)  wrote  on 
theory,  Eng.  trans,  published  by  Breit- 
kopf  &  Hartel;  taught  theory  Leipsic 
Conservatory;  composed  four  sympho- 
nies. Psalms  xliii,  and  c  in  S-parts; 
orchestral  serenade  in  canon.  Op.  35; 
ballets,  two  overtures,  chamber  music. 
B.  Sept.  3,  1831,  Breslau;  d.  Feb.  1, 
1902,  Leipsic. 

Jadin  (Georges)  played  bassoon  in 
the  chapel  of  Louis  XV  of  France. 
Jean  composed  arid  played  violin  at 
Versailles;  brother  of  GEORGES. 
Louis  Emmanuel  composed  "  Jo- 
conde,"  "Mahomet  II,"  and  in  all  38 
operas;  "La  Bataille  d'Austerlitz " ; 
taught  piano  Paris  Conservatoire, 
1800;  Master  of  Choristers,  French 
Chapel  Royal,  1812-30;  Chevalier  of 
the  Legion  of  Honor.  B.  Versailles, 
Sept.  21,  1768;  son  of  JEAN;  d. 
April    11,    1853,   Paris.     Hyacinthe 


JAmTEQTTiigr 

composed  chamber  music;  played 
piano;  taught  in  Paris  Conservatoire 
upon  its  foundation.  B.  1769,  Ver- 
sailles; son  of  JEAN;  d.  1800,  Paris. 
Jaell  (Alfred)  composed  salon 
pieces;  played  piano;  debut  at  11, 
touring  Europe  and  America.  B. 
Trieste,  Mar.  5,  1832;  d.  Feb.  27, 
1882,  Paris. 
Jagdlied;  Qer.  Hunting  song. 
Jagerchor.  Oer.  Hunting  chorus. 
_  Jahn  (Otto)  composed  four  collec- 
tions of  songs;  wrote  biography  of 
Mozart,  Eng.  trans.,  1882,  and  criti- 
cism; taught  archeology  and  philol- 
ogy Bonn  University.  B.  June  16, 
1813,  Kiel;  d.  Sept.  9,  1869,  GSttingen. 
Jahns  (Eriedricli  Wilhelm)  pre- 
pared thematic  catalogue  of  von 
Weber's  works;  taught  rhetoric, 
Scharwenka  Conservatory,  Berlin; 
founded  and  directed  singing  society 
in  Berlin;  royal  music  director  and 
professor.  B.  Jan.  2,  1809,  Berlin; 
d.  Aug.  8,  1888,  Berlin. 

Jaleo  or  Zaleo.  Spanish  national 
dance,  3-8  time. 

James  (John)  composed  songs, 
organ  pieces ;  played  organ.  D.  1745, 
Middlesex,  Eng. 

James  (W.  BT.)  wrote  on  the  flute; 
played  flute.  Publications  dated 
1826-35. 

Janiewicz  (Eelix)  composed  three 
trios  for  two  violins  and  bass;  played 
violin;  published  music  in  Liverpool 
and  London;  became  a  founder  of  the 
London  Philharmonic  Society.  B. 
1762,  Wilna,  Poland;  d.  1848,  Edin- 
burgh. 

Janitcharenmusik.  Oer.  "  Jan- 
nisary  music."  Military  music  with 
a  predominance  of  percussion  instru- 
ments, such  as  cymbals,  triangles,  and 
drums. 

Janko,  von  (Paul)  invented  a  new 
KEYBOARD  for  the  piano  which  pre- 
sents many  advantages,  although  it 
has  not  come  into  general  use;  taught 
Leipsic  Conservatory;  pupil  Vienna 
Polytechnic  and  Conservatory,  Berlin 
University.  B.  June  2,  1856,  Totis, 
Hungary;    add.  Constantinople. 

Jannequin  (Clement)  composed 
"  La  Bataille,"  a  descriptive  piece 
commemorating  the  Franco-Swiss  bat- 


JANNICONI 


292 


JEITSEN 


tie  of  Marignan,  1515;  82  FsaJma 
dedicated  to  the  Queen  of  Prance, 
masses,  chansons;  probably  disciple 
of  Joaquin  des  Pres.  Last  publication 
dated  Paris,  1559. 

Janniconi  (Giuseppe)  composed  15 
masses  and  other  church  music;  be- 
came chapelmaster  St.  Peter's,  Rome, 
on  retirement  of  Zingarelli,  1811; 
pupil  of  Rinaldini,  Carpani,  and  Pi- 
sari;  teacher  of  Basili  and  Baini. 
B.  1741,  probably  at  Rome;  d.  Mar. 
16,  1816,  Rome. 

JTausa  (Leopold)  composed  violin 
duets,  still  useful  for  students;  con- 
ducted University  of  Vienna,  1834-49; 
taught  and  played  violin  in  London, 
B.  Mar.  23,  1795,  Wildenschwert,  Bo- 
hemia;  d.  Jan.  24,  1875,  Vienna. 

Japart  (Jean)  composed  chansons, 
may  have  been  singer  to  the  Duke  of 
Ferrara,  15th  century. 

Jarnowic  (OioTanni  Slane)  com- 
posed 18  violin  concertos,  three  string 
quartets;  became  celebrated  through- 
out Europe  as  violin  virtuoso;  pupil 
of  Lolli;  real  name  Giornovichj.  B. 
1745,  Palermo;  d.  Nov.  21,  1804,  St. 
Petersburgh. 

Jay  (Dr.  John  George  Henry) 
composed  for  piano;  played  'cello  and 
violin.  B.  Nov.  27,  1770,  Essex,  Eng. ; 
d.  Sept.  17,  1849,  London. 

Jean  de  Paris.  Francois  Adrien 
Boieldieu's  two-act  opera  eomique  was 
first  performed  April  4,  1812,  at  the 
Theatre  Feydeau,  Paris. 

Jeanie  Deans.  Hamish  MacCunn's 
four-act  opera,  to  book  by  Joseph 
Bennett,  was  first  performed  Nov.  15, 
1894,  at  the  Lyceum  Theatre,  Edin- 
burgh. 

Jebb  (Bev.  John,  D.D.)  wrote 
"Three  Lectures  on  the  Cathedral 
Service  of  the  United  Church  of  Eng- 
land and  Ireland,"  1845 ;  "  The  Choral 
Service  of  the  United  Church  of  Eng- 
land and  Ireland,"  etc.,  1843;  "The 
Choral  Responses  and  Litanies  of  the 
United  Church,"  etc.,  1847-57 ;  Canon 
of  Hereford.  B.  Dublin;  d.  Jan.  8, 
1886,  Peterstow. 

Jedliczka  (Ernst)  taught  pieno 
Moscow  Conservatory,  1881-88,  later 
at  Klindworth  Institute  at  Stern  Con- 
servatory, Berlin.     B.  June  5,   1855, 


Poltava,    Russia;    d.    Aug.    6,    1904, 
Berlin. 

Jeffries  (George)  coinposed  about 
100  anthems  and  motets;  organist  to 
Charles  I  of  England,  Oxford,  1643. 

Jenkins  (John)  composed  "  12  so- 
natas for  two  violins  and  bass  with  a 
thoroughbass  for  organ  or  theorbo," 
1660,  the  first  work  of  the  kind  by  an 
Englishman ;  "  The  Mitter  Rant," 
"  Lady  Audley's  Bells,"  songs ;  played 
lute  and  lyra-viol  at  the  courts  of 
Charles  I  and  Charles  II  of  Eng.  B. 
1592,  Maidstone;  d.  Oct.  27,  1678, 
Kimberley,  Norfolk. 

Jenks  (Francis  Henry)  wrote 
music  criticism  for  the  "  Globe," 
"  Advertiser,"  "  Courier,"  Boston 
newspapers,  and  most  of  the  Ameri- 
can articles  in  the  first  edition  of 
Grove's  Dictionary  of  Music;  became 
music  and  dramatic  editor  Boston 
"Transcript,"  1881-94;  was  librarian 
and  secretary,  Handel  and  Haydn  So- 
ciety; for  many  years  organist  St. 
Peter's  and  St.  Paul's  P.  E.  churches, 
Cambridge,  Mass.,  and  St.  James  P.  E. 
church,  RoxbuTy,  Mass.;  composed 
songs.  Son  of  Samuel  Haynes  Jenka, 
writer,  amateur,  and  early  member 
of  Handel  and  Haydn  Society,  Mr. 
Jenks  was  organ  pupil  of  Dorn.  B. 
June  2,  1838,  Nantucket,  Maaa. ;  m. 
Julia  M.  Clark,  Boaton,  Mar.  20, 
1865;    d.  Roxbury,  Deo.  9,  1894.^ 

Jenny  Bell.  Daniel  F.  E.  Auber's 
three-act  opera  eomique,  to  book  by 
Scribe,  was  first  performed  June  2, 
1855,  at  the  Paris  Opfira  Comique. 

Jensen  (Adolph)  composed  popu- 
lar songs,  piano  music,  and  taught 
piano;  pupil  of  Ehlert  and  F.  Mar- 
purg;  the  intimate  of  Gade  and 
Schumann;  chapelmaster  at  Posen. 
His  larger  works  were :  "  Jeptha's 
Tochter,"  aoli,  chorHia,  and  orchestra. 
Op.  26 ;  "  Der  Gand  der  Junger  nach 
Emmaus,"  cantata.  Op.  27;  the  con- 
cert bar.  aria  "Alt  Heidelberg,"  Op. 
34 ;  the  song  cycle  "  Gaudeamus,"  Op. 
40 ;  "  Donald  Caird  ist  wieder  da," 
ten.  solo,  male  chorus,  and  orchestra. 
Op.  54 ;  "  Adonaisfeier,"  soli,  chorus, 
and  orchestra ;  the  opera  "  Turandot," 
completed  after  his  death  by  W. 
Kienzl;   seven  songs  from  Burns,  Op. 


JEFTHA 


293 


JEW'S   HASP 


49;  seven  songs  from  Moore,  Op.  50; 
four  ballads  from  Allan  Cunningham, 
Op.  51;  six  songs  from  Scott,  Op.  52; 
six  songs  from  Tennyson  and  Mrs. 
Hemans,  Op.  53;  piano  sonata  in  F 
sharp  minor;  piano  Etudes,  Op.  32; 
concert  overture  in  E  minor,  "  Geist- 
liches  Tonstiick,"  for  orchestra;  "Land- 
liche  Festmusik,"  piano  duet;  the 
choruses  with  horns  and  harp  "  Ge- 
sang  der  Nornen "  and  "  Brautlied," 
to  Uhland's  words.  Op.  10;  Hochzeit- 
musik,  for  ^ano  duet.  Op.  45;  Wan- 
derbilder,  for  piano.  Op.  16;  seven 
piano  pieces,  "Erotikon,"  Op.  44; 
and  in  all  160  solo  songs.  See  biog- 
raphy by  KigglH  B.  KSnigsberg,  Jan. 
12,  1837;  d.  Baden-Baden,  Jan.  26, 
18T9.  Gustav  edited  "  Classiche  Vio- 
linmusik"  and  other  valuable  collec- 
tions of  violin  pieces;  pupil  of  his 
brother  ADOLPH  and  of  Joachim; 
taught  theory  Cologne  Conservatory. 
B.  Konigsberg,  Dec.  25,  1843;  d.  Nov. 
26,  1895,  Cologne. 

Jeptha.  George  Frederic  Handel's 
last  oratorio,  to  book  by  Dr.  Morell, 
was  first  sung  Feb.  26,  1752,  at  Co- 
vent  Garden,  London.  Giacomo  Caris- 
simi,  Barthelemon,  and  Reinthaler 
have  composed  oratorios  of  the  same 
title. 

Jerusalem.  Giuseppe  Verdi's  four- 
act  opera,  to  book  by  Koyer  and  Waez, 
was  first  performed  at  the  Paris 
Academic,  Nov.  26,  1847.  The  earlier 
Italian  version  was  called  "  I  Lom- 
bardi."  H.  H.  Pierson's  oratorio  to 
Biblical  text,  arranged  by  W.  San- 
croft  Holmes,  was  first  sung  Sept.  23, 
1852,  at  the  Norwich  Festival. 

Jessonda.  Ludwig  Spohr's  three- 
act  opera,  to  book  by  Eduard  Gehe, 
based  on  Lemiere's  novel  "  La  Veuve 
du  Malabar,"  was  first  performed  July 
28,  1823,  at  Cassel.  It  was  composed 
in  celebration  of  the  great  violinist's 
appointment  as  chapelmaster,  and 
produced  under  his  direction.  Goa 
on  the  Malabar  coast  has  been  be- 
sieged by  the  Portuguese  general, 
Tristan  d'Acunha,  who  loves  Jessonda, 
from  whom  a  cruel  fate  separated  him. 
But  Jessonda,  forced  to  marry  an  old 
rajah,  has  been  condemned  to  die  upon 
her  husband's  decease,  in  accordance 


with  Brahmin  law.  Nadori,  a  young 
priest,  is  sent  to  prepare  the  widow 
for  her  fate,  and  falls  in  love  with 
Amazili,  Jessonda's  sister,  with  whom 
he  plans  to  save  her.  Jessonda  bathes 
in  the  sacred  waters  of  the  Ganges  to 
purify  herself  for  death,  and  is  recog- 
nized by  Tristan  on  her  way  back  to 
the  camp,  but  a  truce  makes  it  impos- 
sible for  him  to  rescue  her.  Nadori, 
however,  visits  the  Portuguese  camp, 
bearing  the  welcome  intelligence  that 
the  natives  have  violated  the  truce, 
and  freed  from  his  oath,  Tristan  cap- 
tures the  temple  in  time  to  save  Jes- 
sonda's life,  and  of  course  the  four 
lovers  are  united. 

Jeu.  Fr.  Organ  or  harmonium 
stop;   grand  with  full  power. 

Jeu  d'Anche.    Fr.    Beed  stop^ 

Jeu  d'Ange.    Fr.    Voix  angelica. 

Jeu  de  Flute.     Fr.    Flute  stop. 

Jeu  d'Orgue.    Fr.    Organ  stop;     i 

Jeune  Henri.  £itienne  Nicholas 
M^hul's  two-act  opgra  comique,  to 
book  by  Bouilly,  was  first  performed 
May  1,  1797,  at  the  Theatre  Favart, 
Paris.  The  overture  was  long  popular, 
although  the  opera  proved  a  failure. 

Jeux  Doux.  Fr.  Soft  or  sweet 
stops. 

Jeux  Forts.    Fr.    Loud  stops. 

Jewess.  English  name  of  Hal€vy's 
opera  La  JUIVB. 

Jewett  (Bandolph)  composed  five 
anthems  and  an  Evening  Service; 
played  organ,  St.  Patrick's  and  Christ 
Church,  Dublin;  became  organist. 
Master  of  Choristers,  and  lay  vicar, 
Winchester  Cathedral.  B.  1603,  Ches- 
ter;   d.  1675,  Winchester. 

Jew's  Harp.  Instrument  consist- 
ing of  a  metal  tongue  held  in  a  metal 
frame  in  such  a  manner  that  it  can 
be  twitched  with  the  finger  while  the 
frame  is  held  in  the  mouth.  The  tone 
produced  may  be  modified  in  pitch  by 
altering  the  shape  of  the  cavity  of  the 
mouth.  Hoch,  a  soldier  in  the  army 
of  Frederick  the  Great,  was  the  first 
to  employ  the  Jew's  Harp  as  a  solo 
instrument,  which  had  been,  and  is 
still,  generally  regarded  as  a  toy.  In 
1827-28.  Charles  Eulenstein  became 
famous  as  a  Jew's  Harp  soloist,  ob- 
taining a  range  of  four  octaves  by 


THAN 


294 


JOCONDE 


employing  16  instruments.  The  Jew's 
Harp  is  variously  known  as  the  Guim- 
barde,  Trompe  de  Beam,  Maultrom- 
mel,  and  Brummeisen. 

Jhan  or  Jan  (Maistre)  composed 
madrigals,  motets,  and  other  church 
music;  chapelmaster  to  Ercole  Este, 
Duke  of  Ferrara;  may  have  been  one 
and  the  same  with  Ghan  6ER0.  B. 
about  1519 ;   d.  about  1543. 

Jig.    GIGUB. 

Jingles.  Metal  disc  on  the  TAM- 
BOUEINE. 

Joachim  (Joseph)  ranked  with  the 
greatest  of  recent  violin  soloists,  quar- 
tet players,  and  teachers;  composed 
a  famous  Hungarian  Concerto,  Op.  11, 
for  violin.  Joachim  began  to  play  vio- 
lin at  five,  two  years  later  became 
a  pupil  of  Serwaczynski,  leader  of 
the  Pest  opera,  and  later  of  Misha 
Hauser,  G.  Hellmesberger,  Sr.,  and 
Boehm  at  Vienna.  His  debut  was 
made  at  the  age  of  12  at  a  Leipsic 
concert  given  by  Mme.  Viardot.  Men- 
delssohn was  his  accompanist.  This 
concert  won  him  the  friendship  of  Men- 
delssohn and  an  engagement  at  the 
Gewandhaus,  where  he  played  Ernst's 
"  Otello  "  fantasia.  In  1844,  then  in 
his  13th  year,  Joachim  made  his  ap- 
pearance in  England  at  a  series  of 
concerts,  in  which  he  won  instantly 
the  friendship  of  the  English  musi- 
cians and  public.  Returning  to  Leip- 
sic, he  studied  with  David,  Mendels- 
sohn's concertmeister,  .beside  whom  he 
played  in  the  Gewandhaus  orchestra. 
There  he  remained  until  1849,  when 
he  became  concertmeister  under  Liszt 
at  Weimar,  but  soon  withdrew  from 
the  influences  of  the  "  Music  of  the 
Future,"  although  without  losing  the 
esteem  and  good  will  of  Liszt.  In 
1853  he  became  solo  violinist  and  can- 
ductor  to  the  King  of  Hanover,  and  in 
1868  became  the  head  of  the  Berlin 
"Hochschule  fttr  ausiibende  Tonkunst," 
a  recently  formed  branch  of  the  Royal 
Academy  of  Fine  Arts,  which  he  domi- 
nated until  his  death.  The  following 
year  he  organized  his  string  quartet, 
the  most  celebrated  of  modern  Euro- 
pean chamber  music  organizations. 
Associated  with  him  originally  in  the 
guartet  were  Ernst  Schiever,  2d  vio- 


lin; Heinrich  de  Ahna,  viola;  and 
Wilhelm  MuUer,  'cello.  Honours 
flowed  fast  upon  the  quartet  and  upon 
its  leader  in  particular.  Besides  the 
degree  Dr.  Mus.  received  from  Cam- 
bridge, 1877,  he  was  decorated  by 
many  European  sovereigns  and  hon- 
oured by  several  other  universities. 
In  1889  he  celebrated  the  50th  anni- 
versary of  his  debut,  but  retained 
his  grasp  of  musical  affairs  in  all 
respects  until  the  end.  Dr.  Joachim's 
reputation  rests  upon  his  merit  as 
an  interpreter  and  teacher  of  music 
rather  than  as  a  composer.  His  prin- 
cipal works  were:  Andantino  and 
Allegro  Seherzando  for  violin  and  or- 
chestra. Op.  1;  Violin  and  piano 
Stiicke,  Op  2;  G  minor  concerto  for 
violin,  Op.  3;  "Hamlet,"  overture  for 
orchestra.  Op.  4;  violin  and  piano 
Stucke,  Op.  5 ;  "  Demetrius,"  over- 
ture. Op.  6 ;  "  Henri  IV,"  overture. 
Op.  7 ;  overture  on  the  Grozzi  comedies, 
Op.  8;  Henrew  Melodies  for  viola 
and  piano,  Op,  9;  Variations  for  vio- 
lin and  piano  on  an  original  theme; 
Op.  11,  the  great  Hungarian  Concerto 
already  mentioned;  notturno  in  A 
for  violin  and  small  orchestra.  Op. 
12;  Kleist  overture.  Op.  13;  Scena 
der  Marfa,  for  solo  con.  and  orches- 
tra, from  Schiller's  "  Demetrius,"  Op. 
14,  and,  without  opus  numbers,  two 
marches  with  trios,  in  C  and  D; 
Romance  in  C  for  violin  and  piano; 
Variations  in  E  minor  for  violin  and 
orchestra;  Violin  concerto  in  G,  the 
songs  "  Ich  hab'  im  Traum  geweinet " 
and  "  Rain  and  Sun,"  cadenzas  for 
concertos  of  Beethoven  and  Brahms. 
B.  June  28,  1831,  Eattsee,  near  Pres- 
burg;  d.  Aug.  10,  1907.  See  biography 
by  Andreas  Moser,  Bng.  trans. 

Joan  of  Arc.  Michael  William 
Balfe's  three-act  opera,  to  book  by 
A.  Bunn,  was  first  performed  Nov. 
30,  •  1837,  at  Drury  Lane,  London. 

Job.  Sir  C.  H.  H.  Parry's  oratorio 
was  first  performed  1892  at  the  Leeds 
Musical   Festival. 

Jobel.  Beb.  Possibly  equivalent 
of  "  jubilee " ;  applied  to  certain 
horns  or  trumpets. 

Joconde.  Nicolo  Isuard's  three- 
act  opera  comique,  to  book  by  tiitienne, 


JOCULATOR  295  JOMMELLI 

was  first  performed  Feb.  28,  1814,  at  Johnson  (Robert)  composed  music 

the  Theatre  Feydeau,  Paris.    An  Eng-  for  both  Latin  and  Anglican  rituals, 

lish  version  was  revived  by  the  Carl  songs;   said  to  have  been  a  priest,  who 

Rosa  Company,  1876.  fled  from  Scotland  prior  to  the  Eefor- 

Joculator.      Jongleur    or    TROU-  mation;    may  have  been  chaplain  to 

BADOUR.  Anne  Boleyn,  1533-36. 

Jodeln  or  Jodie.    Tyrolese  song  in  Johnson  (Robert)  composed  "  Pull 

which  quick  progressions  in  falsetto  fathom  five,"  "  Where  the  bee  sucks," 

melody   alternate   with   tones   of   the  for  "The  Tempest,"  songs  for  plays 

natural  voice.  of  Beaumont  and  Fletcher  and  Ben 

John  Brown's  Body  was  a  popular  Jonson;   for  virginals,  lute,  and  viols; 

song  in  both  Federal  and  Confederate  lutenist  to  James  I  and  Charles  I  of 

camps  during  the  Civil  War  in  the  England,    1604-34.     Probably  son  of 

United  States.     Doggerel  words  by  no  JOHN,  lutenist  to  Queen  Elizabeth, 

means  complimentary  to  the  leaders  Johnson  (Samuel)  wrote  and  com- 

of    the    opposing    armies    were    sung  posed    the    musical    drama    "  Hurlo- 

North  and  South  to  the  same  tune,  thrumbo,"  London  Haymarket,  1729, 

William   Steffe   or    S.    FOSTER   was  in  which  he  likewise  played  the  r6le 

the  composer.     The  tune  was  known  of  Lord  Flame. 

in  the  South  as  a  camp  meeting  hymn  Johnston  (John)  published  music 

before  the  outbreak  of  the  war.  in  London,  1768-76,  including  works 

John  the  Baptist.     G.  A.  Macfar-  by  Arne  and  Didbin. 

ren's    oratorio   to    Biblical    text,    ar-  Johnston    (Robert    E.)    managed 

ranged  by  Dr.  E.  G.  Monk,  was  first  concerts,  artists,  and  "  promoted  all 

sung   Oct.   23,    1873,   at   the   Bristol  things  musical."     B.  June   15,   1868, 

Festival.  Brooklyn,  N.  Y. ;  add.  New  York  City. 

Johns  (Clayton)  composed  a  Ber-  Jommelll    (N'iccolo)    composed   a 

ceuse   and   Scherzino   played   by   the  celebrated     Miserere,     the     oratorios 

Boston  Symphony  Orchestra;    nearly  "  Betulia   liberata"   and  "L'Isacco," 

100  songs  and  violin  and  piano  pieces  a  Passion,  Requiem  for  the  Duchess 

in  the  smaller  forms;    pupil  of  J.  K.  of  Wurtemberg;  "L'Errore  Amoroso," 

Paine  and  W.  H.  Sherwood,  in  Bos-  Naples,  1737,  an  opera  wliich  estab' 

ton,  and  of  Kiel,  Grabow,  Rail,  and  lished  his  reputation,  but  which  he 

Rummel,  in  Berlin;    taught  in  Bos-  published   as   that   of   Valentino   be- 

ton.      B.    Nov.    24,    1857,    Newcastle,  cause  of  timidity,  and  the  successful 

Del.;    add.  Boston.  operas    "Odoardo";    "II   Ricimero," 

Johnson  (Edward)  composed  mad-  "  L'Astianatte,"   "  Achille   in   Sciro," 

rigals  and  virginal  music;  contributed  "Didone,"    "Artaserse,"    "Armida," 

in  1592  to  Este's  "  Whole  Booke  of  which  failed  at  the  San  Carlo,  Naples, 

Psalmes."  1770;    "  II  Demofoonte  "  and  "  L'lfi- 

Johnson  (James)  engraved  music  genia    in    Aulide,"    which    likewise 

in    Edinburgh,    1772    to    1790;    pub-  failed;    in    all    nearly    fifty    operas, 

lished  the  "  Scots  Musical  Museum,"  Jommelli  was  the  pupil  of  Canon  Moz- 

1787,   which   contains    600    airs,   and  zillo,  Feo,  Prato,  Mancini,  and  Leo, 

to   which   Robert   Burns   was   a   con-  and  a  thorough  master  of  the  contra- 

tributor.      D.    Feb.    26,    1811,    Edin-  puntal  methods,  with  which  he  com- 

burgh.  bined  harmonic  skill,  ranking  with  the 

Johnson     (John)     composed    lute  most  important  composers  between  the 

music,   still   preserved  in   Cambridge  eras  of  Palestrina  and  Mozart.     He 

University;    lutenist  to  Queen  Eliza-  was   the   friend   of  Metastasio,   with 

beth  of  England,  1581-95.  whom  he  occasionally  exchanged  the 

Johnson   (John)   published  music  rdles  of  poet  and  composer;    and  of 

in  London  from  1740  to  1762,  includ-  Padre  Martini,  with  whom  he  studied 

ing  works  of   Geminiani   and  Arne.  for  a  time.    In  1747  he  became  direc- 

His  widow  continued  the  business  for  tor  of  the  Venetian  Scuola  degl'  In- 

10  years.  curabili;    then    after    a    sojourn    in 


JONAS 


396 


JOSEFFY 


Vienna,  coadjutor  chapelmaster  at  St. 
Peter's,  Rome,  and  from  1753  to  1768 
chapelmaster  to  the  Duke  of  Wtirtem- 
berg.  Eeturning  to  Italy,  his  popu- 
larity had  been  forgotten,  and  he  re- 
tired to  the  country.  Commissions 
were  given  him  by  the  King  of  Portu- 
gal for  two  operas  and  a  cantata,  but 
the  two-part  Miserere  and  a  cantata 
celebrating  the  birth  of  an  heir  to 
the  throne  of  Naples  proved  his  last 
works.  B.  Sept.  10, 1714,  Aversa,  near 
Naples;    d.  Aug.  25,  1774,  Naples. 

Jonas  (Alberto)  toured  Europe  and 
America  as  concert  pianist;  taught 
University  of  Michigan,  1894;  pupil 
of  Grervaert,  Brussels  Conservatoire, 
and  at  the  St.  Petersburg  Conserva- 
tory, under  Kubinstein.  B.  June  8, 
1868,  Madrid. 

Jonas  (Emile)  composed  "  Le  Duel 
de  Benjamin,"  1855;  "Terrible  Hy- 
men," "The  Two  Harlequins,"  "Le 
Canard  a  trois  bees,"  "  Le  Chignon 
d'Or,"  1874;  "Le  Premier  Baiser," 
1883,  and  many  other  operettas  which 
almost  rivalled  those  of  Offenbach  in 
popularity;  the  three-act  English 
operetta  "  Cinderella  the  Younger," 
1871,  London;  directed  music  at  the 
Paris  Portuguese  synagogue;  taught 
in  Paris  Conservatoire.  B.  Mar. 
5,  1827;  d.  May  22,  1905,  Saint- 
Germain. 

Joncieres,  de  (Victorin)  composed 
the  operas  "  Chevalier  Jean,"  Op€ra 
Comique,  Mar.  11,  1885;  the  unsuc- 
cessful operas  "  Sardanapale,"  "  Le 
dernier  jour  de  Pompei,"  "  Dimitri," 
"  Peine  Berthe  " ;  "  La  Mer,"  sympho- 
nic ode  for  mez.  sop.,  chorus,  and  or- 
chestra ;  Chinese  Chorus,  Slavonic 
March,  the  orchestral  suite  "Lea 
Nubiennes."  Son  of  the  lawyer  and 
journalist  Bossignol,  who  adopted  the 
name  of  Joncieres  as  a  nom  de  plume, 
the  composer  was  a  student  of  the 
Paris  Conservatoire,  but  withdrew  be- 
cause of  a  controversy  over  Wagner 
with  Blwart.  His  earlier  composi- 
tions include  incidental  music  to 
"Hamlet"  and  a  Symphonic  Roman- 
tique.  From  1871  he  was  music  and 
dramatic  critic  of  "  La  Liberte,"  and 
later  became  Chevalier  of  the  Legion 
of  Honor  and  President  of  the  So- 


ciety des  Compositeurs.  B.  April  12i 
1839,  Paris;    d.  Oct.  26,  1903. 

Jones  (Edward)  wrote  "Musical 
and  Poetical  Relicks  of  the  Welsh 
Bards,"  etc.,  1786;  "The  Bardic  Mu- 
seum," 1802;  played  Welsh  harp;  be- 
came "  bard  to  the  Prince  of  Wales," 
1783;  edited  collections  of  songs,  B. 
April  2,  1752,  Llanderfel,  Merioneth- 
shire, Wales;    d.  April  18,  1824. 

Jones  (Edward)  printed  music  in 
London  in  succession  to  John  Play- 
ford,  Jr.,  1688-93. 

Jones  (John)  composed  60  chants, 
single  and  double,  harpsichord  les- 
sons; played  organ  St.  Paul's  Cathe- 
dral. B.  1728;  d.  London,  Feb.  17, 
1796. 

Jones  (Richard)  composed  violin 
sonatas,  chamber  airs,  suites,  "Les- 
sons for  Harpsichord,"  1776;  played 
violin  Drury  Lane  Theatre,  London. 

Jones  (BiObert)  composed  five 
"  Bookes  of  Ayres,"  including  "  Pare- 
well  deere  love,"  i  referred  to  in 
"Twelfth  Night";  madrigals,  in- 
cluding "  Faire  Oriana,  seeming  to 
wink  at  folly";  became  famous  as 
lute  player.    Mus.  B.,  Oxford,  1597. 

Jones  (Rev.  William)  wrote  "A 
Treatise  on  the  Art  of  Music,"  1784; 
composed  "  Ten  Church  Pieces  for  the 
Organ  with  Four  Anthems,"  includ- 
ing the  hymn  tune  "  St.  Stephen " ; 
rector  of  HoUingsboume,  Kent.  ,  B. 
July  30,  1726,  Lowick,  Northampton- 
shire;   d.  Jan.  6,  1800,  Nayland. 

Jordan  (Abraham)  built  organs  in 
London  with  his  son  Abraham,  Jr., 
and  invented  a  sliding  shutter  swell, 
1712;  later  they  were  associated  with 
BYFIELD  AND  BRIDGE; 

Jorram.  Boating  song  of  the  Scotch 
highlands. 

JosefEy  (Rafael)  played  piano  with 
distinguished  success  in  Europe  and 
America;  wrote  "School  of  Advanced 
Piano  Playing,"  New  York,  1902;  be- 
came one  of  the  foremost  American 
teachers.  In  boyhood  a  pupil  of 
Brauer  in  Budapest,  JoseflFy  studied 
at  the  ■  Leipsio  Conservatory  under 
Wenzel  and  Moscheles  at  14,  then 
under  Tausig  in  Berlin,  and  with 
Liszt  at  Weimar.  In  1872  he  made 
his  debut  in  Berlin,  and  during  the 


JOSEPH 


297 


JTJDAS    MACCABAEUS 


next  five  years  gave  concerts  in  the 
principal  music  centres  of  Europe. 
In  1879  he  visited  New  York,  playing 
at  an  orchestral  concert  given  by  Dr. 
Damrosch,  later  at  the  Philharmonic, 
and  with  Thomas.  Mr.  Joseflfy's  reper- 
toire, needless  to  say,  was  most  ex- 
tensive, but  he  was  widely  known  as 
an  exponent  of  Brahms.  His  public 
appearances  were  rare,  but  were  re- 
garded as  among  the  chief  events  of 
the  musical  season  in  America.  B. 
July  3,  1852,  Hunfalu,  Hungary;  add. 
Tarrytown-on-the-Hudson,  New  York. 

Joseph.  George  Frederick  Handel's 
oratorio,  to  words  by  James  Miller, 
was  first  performed  Mar.  2,  1744,  at 
Covent  Garden.  Stienne  Nicholas 
Henri  Mehul's  three-act  opera  com- 
ique,  to  book  by  Duval,  was  first  per- 
formed Feb.  17,  1807,  at  the  Theatre 
Feydeau.  The  story  is  the  familiar 
Biblical  narrative  of  Joseph's  recep- 
tion of  his  brothers  when  they  were 
driven  to  Egypt  by  the  famine,  and 
his  pardon  of  this  crime.  The  work 
is  still  occasionally  sung  in  German 
versions.  The  best  known  musical 
numbers  are:  "A  peine  au  sortir  de 
I'enfance,"  Joseph ;  "  Dieu  d'Israel," 
prayer  for  male  chorus ;  "  Ah  lorque 
la  mort,"  Benjamin.  G.  A.  Macfar- 
ren's  oratorio,  to  Biblical  text  ar- 
ranged by  Monk,  was  first  performed 
Sept.  21,    1877,  at  the  Leeds  Festival. 

Joshua.  George  Frederick  Han- 
del's oratorio,  to  text  by  Dr.  Morell, 
was  first  performed  Mar.  9,  1748,  at 
Covent  Garden,  London.  It  contains 
"  See  the  conquering  hero  comes," 
later  introduced  in  "  JUDAS." 

Josqiiin  or  Jesse  des  Fres,  called 
"  The  father  of  modern  harmony,"  by 
Dr.  Burney;  "the  first  musician  who 
impresses  us  as  having  genius,"  by 
Ambros;  composed  19  masses,  150 
motets,  and  50  secular  pieces.  In  boy- 
hood Josquin  was  a  chorister  at  the 
Church  of  St.  Quentin,  Hainault,  then 
for  several  years  a  pupil  of  Okeghem, 
chief  of  the  Netherland  composers. 
Next  he  became  chapelmaster  at  St. 
Quentin,  and  in  1471  joined  the  papal 
chapel  in  Rome,  where  Sixtus  IV  then 
reigned.  At  various  later  periods  he 
was  court  musician  to  Heroule  Este, 


Duke  of  Ferrara,  Lorenzo  Medici,  of 
Florence,  Louis  XII  of  France,  and 
the  Emperor  Maximilian  I.  In  1486 
he  was  again  in  the  papal  choir  under 
the  pontificate  of  Innocent  VIII,  and 
in  old  age  retired  to  Cond€  as  Pro- 
vost of  the  Cathedral  Chapter.  The 
most  celebrated  of  Josquin's  masses 
were :  "  La  sol  fa  re  mi,"  "  Ad  fugam," 
"De  Beata  Virgine,"  "Pange  Lingua," 
and  "Da  Paoem";  a  5-part  Miser-' 
ere,  4-part  Psalms  "Planxit  au- 
tem  David "  and  "  Absolon  fill  mi," 
a  dirge  on  the  death  of  Okeghem,  and 
settings  of  the  genealogies  in  Matthew 
and  Luke,  and  24  pieces  in  the  7th 
book  of  Susato's  songs,  1545,  are 
equally  noteworthy.  Specimens  of  his 
music  may  be  found  in  the  histories 
of  Ambros,  Hawkins,  and  Burney. 
Although  Josquin's  music  reached  an 
unparalleled  popularity  during  his 
lifetime  throughout  Europe,  his  ex- 
cessively florid  counterpoint,  and  his 
indiscretion  in  employing  secular 
themes  as  canti  firmi,  led  to  the  sup- 
pression of  his  church  music  by  a 
later  generation,  although  interest  in 
it  has  been  recently  revived.  B.  1445, 
at  Conde,  Hainault;  d.  Cond§,  Aug. 
27,  1521. 

Jota.  Spanish  dance  in  quick  3-4 
time. 

Jouer.    Fr.    To  play. 

Joule  (Benjamin  St/  John  Bap- 
tist) edited  collections  of  chants  and 
of  words  for  anthems;  played  organ 
St.  Peter's,  Manchester;  wrote  music 
criticism  "  Manchester  Courier."  B. 
Salford,  Eng.,  Nov.  8,  1817;  d.  May 
21,   1895,  Manchester. 

Joumet  (Marcel)  sang  bass  in 
opera;  debut  Theatre  de  la  Monnaie, 
Brussels,  later  at  Covent  Garden,  and 
since  1900,  Metropolitan  Opera  House, 
New  York;  pupil  of  Paris  Conserva- 
toire.   B.  1869,  Paris;  add.  New  York. 

Jubilate.  The  first  word  of  the 
alternative  psalm  to  the  Benedictus 
in  the  Anglican  morning  service  as  it 
occurred  in  the  Vulgate.     Psalm  c. 

Jubiloso.     /*.    Jubilant. 

Judas  Maccabaeus.  George  Fred- 
erick Handel's  oratorio,  to  book  by 
Dr.  Morell,  in  celebration  of  the  Duke 
of  Cumberland's  victories  in  Scotland, 


JTTDEITHAIIFE 


298 


JUIVE 


was  first  performed  April  1,  1747. 
Besides  "  See  the  conquering  hero 
comes,"  taken  from  Joshua,  the  mod- 
ern version  contains,  "  Wise  men  flat- 
tering "  and  "  Sion  now,"  which  Han- 
del added  later. 

Judenharfe.     Oer.    Jew's  Harp. 

Judeukiinig  (Hans)  composed  for 
and  played  lute;  wrote  on  music.  D. 
Vienna,  Mar.  4,  1526. 

Judgment  of  Paris.  William  Con- 
greve's  masque  was  the  subject  of  a 
prize  competition  advertised  Mar.  21, 
1699,  in  the  "  London  Gazette,"  in 
which  the  successful  composers  were 
John  Weldon,  100  guineas;  John  Ec- 
cles,  50  guineas;  Daniel  Purcell,  30 
guineas;  Godfrey  Finger,  20  guineas. 
The  decision  was  made,  1701,  at  a  per- 
formance in  Dorset  Gardens,  London. 
A  ballad  opera  of  that  title  was  pro- 
duced 1731  at  the  Lincoln  Inn  Fields 
Theatre,  London.  A  burletta  of  the 
same  name  was  acted  at  the  Hay- 
market,  London,  1768.  Dr.  Arne's 
composition,  1740,  contains  the  first 
known  version  of  "Rule  Britannia." 

Judith.  Sir  C.  H.  H.  Parry's  ora- 
torio was  first  performed  at  the  Bir- 
mingham Festival  of  1888.  Henry 
Leslie's  Biblical  cantata  was  first  per- 
formed at  the  Birmingham  Festival, 
1858.  Dr.  Arne's  oratorio  was  first 
performed  Feb.  27,  1761,  at  Drury 
Lane,  London.  William  Defesch's  ora- 
torio, to  book  by  Huggins,  was  first 
performed  1733  in  London. 

Juive.  Jacques  Francois  Fro- 
mental  Elias  HaWvy's  five-act  opera, 
to  book  by  Scribe,  was  first  per- 
formed Feb.  23,  1835,  at  the  Paris 
Academic.  There  are  English,  Ger- 
man, and  Italian  versions.  The  action 
is  laid  in  Constance  during  the  early 
sessions  of  the  Church  council,  1414. 
Cardinal  de  Brogni  rescues  the  Jew- 
ish goldsmith  Eleazar  from  the  death 
which  awaits  him  for  keeping  his  shop 
open  in  defiance  of  the  Council's  or- 
ders. Leopold,  prince  of  the  Empire 
and  commander-in-chief  of  its  armies, 
has  fallen  in  love  with  Bachel,  the 
beautiful  daughter  of  Eleazar,  and  in 
order  to  win  her  love,  has  represented 
himself  to  be  Samuel,  a  Jewish  artist. 
A  procession  passes  in  which  the  em- 


peror is  shown  surrounded  by  his  dig- 
nitaries, but  Ruggiero,  the  chief  judge 
of  Constance,  sees  the  hated  Jew  and 
his  daughter  in  the  crowd,  and  orders 
their  arrest.  Leopold  rescues  them. 
In  the  second  act  the  Jews  of  Con- 
stance are  shown  at  worship  in  Elea- 
zar's  house.  The  rites  are  interrupted 
by  a  visit  from  the  Princess  Eudoxia, 
who  purchases  a  golden  chain  that 
had  once  belonged  to  Constantin  the 
Great,  and  orders  the  goldsmith  to 
bring  it  to  the  palace  tiie  following 
day.  Leopold  confesses  then  that  he 
is  a  Christian,  and  Rachel,  in  whom 
love  has  overcome  filial  duty,  agrees 
to  elope  with  him.  This  is  prevented 
by  the  entrance  of  Eleazar,  who  has 
overheard  the  lovers.  At  first  he  is 
determined  upon  revenge,  but  Rachel's 
supplications  make  him  agree  to  their 
marriage,  and  when  Samuel  then  de- 
clines to  marry  Rachel,  he  drives  him 
from  the  house.  In  the  third  act  Rachel 
and  her  father  go  to  the  imperial 
court  to  deliver  the  chain  to  Eudoxia. 
Rachel  recognizes  in  Prince  Leopold, 
Eudoxia's  bridegroom,  her  false  lover, 
and  she  denounces  him  for  having  de- 
ceived her.  The  punishment  for  such 
relationship  with  a  Jewess  is  death, 
and  the  Cardinal  excommunicates  Leo- 
pold, pronounces  the  curse  upon 
Rachel  and  Eleazar,  and  all  three  are 
cast  into  prison.  In  the  fourth  act, 
Eudoxia  visits  Rachel  in  prison,  and, 
moved  by  her  prayers,  Rachel  agrees 
to  retract  her  statement.  In  conse- 
quence, Leopold's  sentence  is  reduced 
to  banishment,  but  the  Jewess  and  her 
father  are  condemned  again  for  hav- 
ing conspired  against  a  Christian.  In 
the  fifth  act  Ilachel  and  Eleazar  are 
led  forth  to  their  death.  Eleazar, 
struggling  between  love  of  Rachel  and 
hatred  of  the  Cardinal,  asks  if  she 
would  not  rather  become  a  Christian 
and  live  in  splendor.  The  Jewess 
firmly  refuses,  and  as  she  plunges  into 
the  furnace,  Eleazar  tells  the  Cardi- 
nal that  it  is  his  long  lost  daughter 
he  has  condemned  —  then  follows  her 
into  the  flames.  The  original  caste  in- 
cluded: Rachel,  Mile.  Cornelia  Fal- 
con; Eudoxia,  Mme.  Dorus-Gras; 
Eleazar,  Nourrit;  Cardinal,  Levasaeur. 


JTJLLIEN" 


299 


EALKBRENNEB 


TuUien  (Jean  Lucien  Adolphe) 
wrote  biographies  of  Berlioz,  Wagner, 
and  other  hooka  on  musical  topics; 
criticism  in  leading  Parisian  journels ; 
from  1873  in  the  "Journal  des  De- 
bats."  B.  June  1,  1845,  Paris;,  add. 
Paris. 

JuUien  (Louis  Antoine)  composed 
Quadrilles,  which  he  performed  at 
promenade  concerts  in  London,  some- 
times supplementing  his  permanent 
orchestra  with  six  brass  bands;  con- 
ducted London  concerts  from  1840  to 
1859,  gaining  notoriety  by  eccentrici- 
ties of  dress  and  manner,  but  present- 
ing the  best  music  with  the  best 
soloists  available;  lost  a  fortune  in 
attempting  to  give  English  opera  at 
Drury  Lane  and  others  in  the  failure 
of  his  publishing  business  and  in  the 
Covent  Garden  fire  of  1856;  pupil  of 
Carpentier  and  Halfivy  at  the  Paris 
Conservatoire,  and  in  early  life  con- 
ductor of  dance  music  in  the  Jardin 
Turc,  Paris.  In  1852  JuUien  produced 
his  only  opera,  "  Pietro  il  Grande," 
at  his  own  expense  at  Covent  Garden, 
London.  It  was  a  complete  failure, 
and  for  the  next  two  years  JuUien 
visited  America.  B.  April  23,  1812, 
Sisteron,  Basses  Alpes,  France;  d. 
Mar.  14,  1860,  in  an  insane  asylum, 
near  Paris. 

Jump.     Progression  by  skip. 

Junck  (Benedetto)  composed  "  La 
Simona,"  12  songs  for  sop.  and  ten.,  to 
words  by  Fontana ;  "  Otto  Romanze," 
Bongs,  to  words  by  Heine  and  Pan- 
zacchi ;  two  songs,  to  words  by  Heine ; 
a  sonata  for  violin  and  piano  in  G; 
sonata  for  violin  and  piano  in  F; 
string  quartet  in  E;  pupil  of  the 
Milan  Conservatory.  B.  Turin,  Aug. 
24,  1852;    d.  1905. 

Jungste  Gericht.  Ludwig  Spohr's 
oratorio  was  first  performed  Aug.  15, 
1812,  at  a  festival  in  Erfurt  in  honour 
of  Napoleon. 

Juon  (Paul)  composed  two  sym- 
phonies, violin  sonata,  two  string 
quartets,  viola  sonata,  piano  pieces, 
including  "  Satyrs  and  Nymphs,"  Op. 
18,  and  Preludes  and  Capriccios,  Op. 
26;  pupil  of  the  Moscow  Conservatory 
and  the  Berlin  Hochschule.  B.  Mos- 
cow, Mar.  9,  1872;    add.  Moscow. 


Jupiter.  W.  A.  Mozart's  49th  sym- 
phony, C  major,  was  so  named  in  all 
probability  by  J.  B.  Cramer.  It  was 
completed  Aug.  10,  1788. 

Jurgenson  (Peter)  founded  a  music 
publishing  house  in  Moscow,  1861, 
issuing  works  of  Glinka,  Rimsky- 
Korsakov,  Tschaikowsky,  and  extend- 
ing the  knowledge  of  Russian  music 
throughout  Europe.  B.  1836,  Revel; 
d.  1904,  Moscow. 

Juste.    Fr.    Just;   in  tune. 
.    Justesse.    Fr.    Purity,  correctness ; 
justness. 

Just  Intonation  is  the  exact  ob- 
servance of  the  major  and  minor  tones 
and  diatonic  and  chromatic  semitones 
possible  in  singing  or  in  playing  in- 
struments of  the  viol  family,  but  im- 
possible on  keyboard  instruments  for 
the  reason  that  Equal  TEMPERA- 
MENT, though  making  an  instrument 
available  in  all  keys,  leaves  octaves 
as  the  only  perfect  intervals. 


Eabaro.  Small  Egyptian  or  Abys- 
sinian drum. 

Kade  (Dr.  Otto)  edited  a  supple- 
mentary volume  to  Ambros's  G«- 
schichte  der  Musik,  containing  speci- 
mens of  the  work  of  15th  and  16th 
century  composers;  a  hymnal  for  the 
Lutheran  church  and  other  works; 
chapelmaster  at  Schwerin.  B.  Dres- 
den, May  6,  1819;  d.  July  19,  1900, 
Doberan. 

Eahn  (Robert)  composed  "Ma- 
homets  Gesang"  for  chorus  and  or- 
chestra, songs,  and  chamber  music; 
taught  composition,  Berlin  Hoch- 
schule; pupil  of  Kiel  and  Rhein- 
berger.  B.  July  21,  1865,  Mannheim; 
add.   Berlin. 

Ealinnikov  (Basil  Sergeivitch) 
composed  symphonies  in  G  minor  and 
A  major,  two  orchestral  intermezzi, 
two  symphonic  sketches,  music  to 
Tolstoi's  play  "Tsar  Boris,"  "Rous- 
salka,"  for  solo,  chorus,  and  orchestra, 
songs;  conducted  opera  at  Moscow; 
pupil  of  the  Moscow  Philharmonic  So- 
ciety's Music  School.  B.  Jan.  13, 
1866,  Orlov;    d.  Jan.  H,  1901,  Yalta. 

Kalkbrenner  (Friedrich  Wilbelm 
STicliael)  wrote  an  instruction  book 


KALLIWODA 


300 


KEISEB 


for  piano,  etudes,  much  chamber 
music,  once  highly  popular  but  now 
forgotten;  played  piano  with  virtu- 
osity; highly  successful  as  teacher 
and  performer  in  London,  1814-23, 
then  removed  to  Paris,  where  he  be- 
came one  of  the  firm  of  Pleyer  &  Co., 
piano  makers;  had  the  distinction  of 
giving  a  few  lessons  to  Chopin,  whom 
he  volunteered  to  accept  as  an  arti- 
cled pupil  for  three  years,  although 
Chopin,  according  to  Mendelssohn,  was 
then  the  better  player;  pupil  of  the 
Paris  Conservatoire  and  of  Albrechts- 
berger  in  counterpoint.  B.  1784,  near 
Berlin;  d.  June  10,  1849,  Enghien, 
near  Paris. 

Kalliwoda  (Johann  Wenzelaus) 
composed  seven  symphonies,  songs, 
overtures,  many  solo  pieces  for  violin 
and  clarinet,  chamber  music;  played 
violin;  ehapelmaster  to  Prince  Fiir- 
stenberg;  pupil  Prague  Conservatory. 
B.  Mar.  21,  1800,  Prague;  d.  Dec.  3, 
1866,  Carlsruhe. 

Kammer.  Ger.  Chamber;  Ton, 
concert  PITCH. 

Kandele  or  Kantele.  Ancient  Fin- 
nish harp;    five  stringed  dulcimer. 

Handler  (Franz  Sales)  wrote  biog- 
raphies of  Palestrina  and  G.  A.  Basse. 
B.  Kloster-Neuberg,  Aug.  23,  1792; 
d.  Sept.  26,  1831,  Baden,  near  Vienna. 

Kapelle.    Ger.    Chapel. 

Kapellmeister.  Ger.  Conductor, 
director,  ehapelmaster. 

Eapsberger  (Johann  Hierony- 
mus)  composed  an  Apotheosis  of 
Ignatius  Loyola,  1622,  wedding  chorus, 
motets,  songs;  villanelle,  and  for  chit- 
arrone;  praised  by  Kireher.  B.  Ven- 
ice;   d.  about  1633. 

Earajan,  von  (Hitter  Theodor 
Qeorg)  wrote  "  J.  Haydn  in  London, 
1791  lind  1792,"  Vienna,  1861.  B. 
Vienna,  Jan.  22,  1810;  d.  April  28, 
1873. 

Eashkin  (Nicholas  Dmitrievich) 
wrote  "  Reminiscences  of  Tschaikow- 
sky,"  1896;  music  criticism  for  Rus- 
sian newspapers.  B.  Dec.  9,  1839, 
Voronezh;    add.  Moscow. 

Eashperov  (Vladimir  Nikitch) 
composed  the  operas  "Marie  Tudor," 
1859,  Milan;  "Rienzi,"  "  Consuelo," 
"The  Storm,"  "  Taras  Boulba,"  1893; 


"  Tsiganer  " ;  taught  singing  Moscow 
Conservatory.  B.  1827,  Simbirsk;  d. 
July  8,  1894. 

Eastner  (Johann  Qeorg)  composed 
the  operas  "  Beatrice,"  "  Le  dernier 
Roi  de  Juda,"  "La  Maschera,"  "Les 
Nonnes  de  Robert-le-Diable  " ;  wrote 
the  first  important  French  treatise  on 
instrumentation,  1839 ;  41  hymns  and 
cantatas,  three  symphonies;  pupil  of 
Berton  and  Reicha.  B.  Mar.  9,  1810, 
Strasburg;  d.  Dec.  19,  1867,  Paris. 
Georg  f  riedrich  Eugen  invented  the 
PYROPHONE,  described  in  his  book 
"  Le  Pyrophone :  Flammes  chant- 
antes."  B.  Aug.  10,  1852,  Strasburg; 
son  of  JOHANN  GEORG;  d.  April  6, 
1882. 

Eearns  (William  Henry)  com- 
posed the  operetta  "Bachelors'  Wives," 
Covent  Garden,  London,  1817;  played 
violin  and  conducted  at  Covent  Gar- 
den. B.  1794,  Dublin;  d.  Dec.  28, 
1846,   London. 

Keckheit.  Ger.  Audacity,  bold- 
ness, vigour. 

Eeeble  (John)  composed  five  books 
of  organ  music;  played  organ  St. 
George's,  Hanover  Square  and  Rane- 
lagh  Gardens,  London;  wrote  "The 
Theory  of  Harmonics,"  1784.  B.  1711, 
Chichester;  d.  Dec.  24,  1786,  Lon- 
don. 

Keeley  (Mary  Anne  Howard) 
sang  in  Dublin  and  London  opera; 
debut  1824  until  her  marriage  to  the  • 
comedian  Robert  Keeley,  after  which 
she  devoted  herself  to  comedy.  B. 
Nov.  22,  1805,  Ipswich;  d.  Mar.  12, 
1899,  London. 

Eeeners.  Mourners  who  took  part 
in  the  CAOINAN  and  ULLALU  at 
Irish  funerals. 

Eeiser  (Beinhard)  composed 
"  Irene,"  and  in  all  116  operas  for 
the  Hamburg  Theatre,  aiding  in  the 
development  of  the  German  school; 
"  Der  fuer  die  Sunde  der  Welte  ge- 
marterte  und  sterbende  Jesus,"  1712; 
"  Der  verurtheilte  imd  gekreuzigte 
Jesus,"  and  other  sacred  works;  gave 
concerts;  became  ehapelmaster  to  the 
King  of  Denmark,  later,  canon  and 
cantor  of  Hamburg  Cathedral.  B. 
1673,  Teuchern,  Leipsic;  d.  Sept.  12, 
1739,  Hamburg. 


keleb-b:^la 


301 


KEOI^NTHE 


Keler-Bela  (Albert)  composed 
overtures,  "  Friedrich-Karl "  inarch, 
"  HofFnungssterne,"  waltz,  "  Hurrah- 
Sturm,"  galop,  violin  pieces;  con- 
ducted Wiesbaden  orchestra ;  in  earlier 
life  violinist  Vienna  Theater  an  der 
Wien  and  bandmaster;  pupil  of 
Schlesinger  and  Sechter.  B.  Feb.  13, 
1820,  -Bartfeld,  Hungary;  real  name 
von  K6ler;  d.  Nov.  20,  1882,  Wies- 
baden. 

Keller  (Godfrey)  wrote  on  theory, 
composed  sonatas  for  flutes  and  haut- 
boys with  Gkidfrey  Finger;  taught 
music  in  London.    D.  about  1707. 

Kelley  (Edgar  Stillman)  com- 
posed an  "  Aladdin  "  suite,  employing 
Chinese  themes  gathered  during  a 
residence  on  the  Pacific  coast,  inci- 
dental music  to  "  Ben  Hur,"  Op.  17 ; 
Wedding  Ode,  for  ten.,  male  diorus, 
and  orchestra.  Op.  4 ;  incidental  music 
to  "  Macbeth  " ;  the  operetta  "  Puri- 
tania,"  Boston,  1892;  piano  quin- 
tet; theme  and  variations  for  string 
quartet;  songs;  pupil  of  Clarence 
Eddy  and  N.  Ledochowski,  Chicago; 
under  various  masters  in  Stuttgart; 
music  critic  the  San  Francisco  "Ex- 
aminer," 1893-95.  B.  April  14,  1857, 
Sparta,  Wis.;    add.  New  York. 

Kellner  (Johann  Peter)  composed 
church  cantatas,  clavier  suites,  some- 
what influenced  by  his  personal  ac- 
quaintance with  Bach  and  Handel; 
played  organ ;  •  cantor  at  Frankenhain 
and  Grafenrode.  B.  Sept.  24,  1705, 
Grafenrode,  Thuringia;    d.   1788. 

Kellogg  (Clara  Louise)  sang  sop. 
in  opera;  debut  as  Gilda,  New  York 
Academy  of  Music,  1861;  later  with 
great  success  at  Covent  Garden,  Lon- 
don, and  in  numerous  American  tours 
at  the  head  of  her  own  company.  Her 
repertoire  included  40  operas,  and  she 
was  able  to  translate,  adapt,  and 
stage  Italian  works  for  .her  English 
opera  troupe,  1874.  In  1887  she  mar- 
ried her  manager,  Charles  Strakosch, 
and  soon  afterwards  retired.  B.  1842, 
Sumterville,  S.  C;    add.  New  York. 

Kelly,  Earl  of  (Thomas  A.  Ers- 
kine)  composed  symphonies,  minuets, 
the  overture  "Maid  of  the  Mill"; 
played  violin;  pupil  of  Stamitz.  B. 
Sept.  1,  1732;  d.  Oct.  9,  1781,  Brussels. 


Kelly  (Michael)  composed  "The 
Woodpecker,"  which  is  still  sung; 
"Blue  Beard,"  "The  Honey  Moon," 
"  Gustavus  Vaaa,"  and  in  all  62  dra- 
matic pieces  which  are  wholly  for- 
gotten; created  the  rdles  of  Basilic 
and  Don  Curzio  for  Mozart,  with 
whom  he  was  intimate  during  a  four 
years'  engagement  at  the  Vienna 
Court  Theatre  ( see  his  "  Beminis- 
cences,"  2  vols.,  London,  1826 ) ;  sold 
music  in  London.  B.  1762,  Dublin; 
d.  Oct.  9,  1826,  Margate. 

Kelway  '(Joseph)  composed  harpsi- 
chord sonatas;  taught  harpsichord  to 
Queen  Charlotte  of  Eng. ;  played  or- 
gan London  churches;  pupil  of  Ge- 
miniani,  D.  about  1782.  Thomas 
composed  Evening  Services  in  B  minor, 
A  minor,  and  G  minor;  played  organ 
Chichester  Cathedral,  1726  to  his 
death.  May  21,  1749.  Elder  brother 
of  JOSEPH. 

Kemangeh.    Arabian  viol. 

Kemble  (Adelaide)  sang  in  Lon- 
don concerts  and  in  opera  in  Italy, 
creating  Norma  in  an  English  ver- 
sion of  that  opera.  B.  1814;  daugh- 
ter of  the  actor  Charles  Kemble; 
m.  Edward  John  Sartoris,  1843,  and 
retired;    d.  Aug.  4,  1879. 

Kemp  (Br.  Joseph)  composed  the 
anthems  "  I  am  Alpha  and  Omega," 
"  A  Sound  of  Battle  is  in  the  Land," 
"The  Cruciiixion,"  songs,  double 
chants,  piano  sonatas;  played  organ 
Bristol  Cathedral.  B.  1778,  Exeter; 
d.  May  22,  1824,  London. 

Kennedy  (David)  sang  in  concerts, 
given  with  the  aid  of  his  11  children 
in  all  parts  of  the  world;  in  early  life 
a  house  painter  in  Perth;  debut  at 
the  Burns  centenary,  Liverpool,  1859. 
B.  April  15,  1825,  Perth,  Scotland; 
d.  Oct.  12,  1886,  Stratford,  Ontario. 

Kent  Bugle.  Obsolete  keyed 
BUGLE. 

Kent  (Tames)  composed  anthems. 
Morning  and  Evening  services ;  played 
organ  Trinity  College,  Cambridge,  and 
later  Winchester  Cathedral  and  Col- 
lege; in  boyhood  chorister  under  Dr. 
Croft,  Eng.  Chapel  Royal.  B.  Mar.  13, 
1700,  Winchester;  d.  1776,  Winchester. 

Keolanthe.  Michael  William 
Balfe's  two-act  opera,  to  book  by  Fitz- 


KEFEB 


302 


KEY    TRUMPET 


ball,  was  first  performed  Mar.  9,  1841, 
at  the  English  Opera  House,  London. 

Eeper  (John)  composed  "  Select 
Psalms  in  four  parts,"  1574;  gradu- 
ated as  M.A.,  Oxford,  1569. 

Kerana.    Persian  horn. 

Keras.    Gr.    Horn. 

Keraulophon.  8-ft.  organ  manuel 
stop  invented  by  Gray  &  Davison, 
1843,  of  pleasant  reedy  quality. 

Keren.  Hebrew  trumpet,  shbphar, 
or  ramshorn. 

Kerl  or  Cherll  (Johann  Caspar) 
composed  a  Missa  Nigra  (black  notes 
only),  the  operas  "  Oronte,"  "  Erinto," 
organ  music,  canzonas,  one  of  which 
Handel  used  in  "  Israel  in  Egypt " 
to  the  words  "  Egypt  was  glad " ; 
played  organ  with  distinction;  pupil 
of  Valentini  and  probably  of  Pres- 
cobaldi  and  Froberger;  chapelmaster 
to  the  Elector  of  Bavaria;  organist 
to  the  Imperial  Court  at  Vienna.  B. 
1628;    d.  Feb.  13,  1693,  Vienna. 

Kerle,  van  (Jacob)  composed 
masses  and  motets  praised  by  Ambros ; 
composer  to  the  Cardinal  of  Augs- 
berg  and  the  Emperor  Rudolf;  canon 
of  Cambrai.  B.  Ypres,  Flanders ;  pub- 
lications dated  from  Borne,  1658,  and 
Prague,  1585. 

Kem.  Oer.  LANGUAGE  of  an 
organ  pipe. 

Kes  (Willem)  played  violin;  eon- 
ducted  at  Amsterdam,  Dordrecht,  Glas- 
gow, Moscow;  directed  Moscow  Con- 
servatory, 1898-1904.  B.  Feb.  16, 
1856,  Dordrecht,  Holland;  add.  Blase- 
witz,  near  Dresden. 

Kessel.     Ger.    Mouthpiece. 

Ketten  (Henri)  composed  for  ajid 
played  piano;  pupil  Paris  Conserva- 
toire. B.  Mar.  25,  1848,  Baja,  Hun- 
gary;   d.  April  1,  1883,  Paris. 

Ketterer  (EugSne)  played  piano; 
composed  salon  pieces;  pupil  Paris 
Conservatoire.  B.  1831,  Rouen;  d. 
Dec.  18,  1870,  Paris. 

Kettledrums.  Orchestra  DRUMS, 
tuned  to  the  tonic  and  dominant  of 
the  key,  when  two  are  employed. 

Eeuciientlial  (Joannes)  compiled 
"Kirchengesang  lateinisch  und 
■  deutsch,"  Wittenberg,  1573,  a  valu- 
able collection  of  Lutheran  litjirgical 
music;  was  pastor  of  St.  Andreasberge. 


Key.  A  scale.  In  the  modern  sys- 
tem of  music  all  keys  are  either  Major, 
that  is  having  semitones  between  the 
third  and  fourth  and  the  seventh  and 
eighth  degrees,  counting  upward  from 
the  first  note,  which  is  called  the 
Tonic;  or  Minor,  having  the  semi- 
tone between  the  second  and  third 
degrees,  ascending  from  the  Tonic. 
Since  any  of  the  twelve  semitones 
into  which  the  octave  is  divided  may 
serve  as  a  Tonic,  the  relative  propor- 
tion of  the  degrees  must  be  preserved 
by  sharps  or  flats  in  the  signature, 
except  in  the  key  of  C,  hence  called 
the  Normal  key.  The  signature  of  a 
major  key  likewise  serves  for  its  re- 
lated minor  key,'  the  tonic  of  which  is 
a  third  below.  The  earlier  key  sys- 
tems are  described  under  the  headings 
GREEK  MUSIC  and  MODES.  Key  is 
also  the  name  of  levers  which  serve  as 
digitals  for  organs,  harmoniums,  and 
pianos;  for  the  levers  by  which  vent- 
ages are  opened  or  closed  in  flutes, 
oboes,  etc.;  for  tuning  hammers;  for 
the  levers  controlling  organ  pallets. 
It  is  an  obsolete  name  for  Clef. 

Keyboard.  Series  of  digitals  on 
an  organ,  harmonium,  or  piano.  When 
arranged  for  the  fingers  a  keyboard 
is  a  manual;  when  for  the  feet,  it  is 
a  pedal  or  pedal-clavier.  The  key- 
board in  universal  use  at  present  is 
the  result  of  centuries  of  experiment. 
Countless  variations  upon  it  have  been 
urged  by  ingenious  inventors  from  the 
earliest  of  the  clavichord  and  organ 
builders,  who  sought  to  avoid,  by 
means  of  additional  keys,  the  incon- 
veniences arising  from  unequal  tem- 
perament, to  Paul  von  JANKO,  who 
in  1882  invented  a  Keyboard  in 
which  each  note  has  three  digitals  to 
permit  of  greater  freedom  in  fin- 
gering. 

Key  Bugle.  An  improved  BUGLE 
invented  by  Logier,  but  superseded  by 
the  Valve  Bugle. 

Key  Chord.  Triad  on  the  tonic,  as 
the  chord  C,  E,  G,  the  key  chord  of  C. 

Key  KTote.  The  note  on  which  a 
scale  commences  and  from  which  it 
takes  its  name;   the  tonic. 

Key  Trumpet.  TRUMPET  with 
keys  or  valves. 


EKALIIi 


303 


KIBBYE 


Ehalil  or  Chalil.  Hei.  Ancient 
Jewish  flute  or  oboe. 

Khasan.  Heb.  The  cantor  in  a 
synagogue. 

Klallmark  (George)  composed 
songs  and  fantasias  for  piano;  played 
violin.  B.  1781,  King's  Lynn,  Eng.; 
d.  1835,  Islington.  George  Frederick 
played  and  teught  piano  in  London. 
B.  Nov.  7,  1804,  Islington;  son  of 
GEORGE;    d.  Dec.  13,  1887. 

Kiel  (Frederick)  composed  the  ora- 
torio "  Christus,"  two  Requiems,  a 
Solemn  Mass;  taught  composition, 
Berlin  Hochachule.  B.  Oct.  7,  1821, 
Puderbaeh;    d.  Sept.  14,  1885,  Berlin. 

Kienzl  (Wilhelm)  composed  the 
"EVANGELIMANN,"  "Uvarsi," 
"  Heilmar  der  Narr,"  "  Don  Quixote," 
100  songs,  150  piano  pieces;  con- 
ducted opera,  Amsterdam,  Hamburg, 
Munich.  Pupil  of  Dr.  W.  Mayer  of 
the  Prague  Conservatory  and  of  Rhein- 
berger,  Kienzl  was  the  intimate  of 
Wagner  for  a  time,  and  in  1905  pub- 
lished a  monograph  on  that  com- 
poser. Wagner  detested  him  in  later 
life  because  of  Kienzl's  admiration 
for  Schimiann.  B.  Witzenkirchen, 
Austria,  Jan.   17,   1857;    add.  Gratz. 

Kiesewetter  (Baphael  Georg) 
wrote  on  music;  collected  scores  of 
the  older  masters;  ennobled  by  the 
Austrian  Emperor  as  Edler  von  Wiea- 
enbrunn  for  services  in  the  war  board. 
B.  Aug.  29,  1773,  HoUeschau,  Moravia; 
d.  Jan.  1,  1850,  Baden,  near  Vienna.     • 

Kin.     Chinese  dulcimer. 

Kind  (Jobann  Eriedrich.)  wrote 
libretti  of  von  Weber's  "  Freischutz," 
"  Marschner's  "  Holzdieb,"  novels, 
tales,  and  verses;  in  early  life  a  law- 
yer, and  later  Hofrath  at  the  court 
of  Saxony.  B.  Mar.  4,  1768,  Leipsic; 
d.  June  25,  1843,  Dresden. 

Kindermann  (August)  sang  bass- 
bar.  r5Ies  at  Munich  opera,  1846-86; 
in  early  life  chorus  singer,  Berlin 
opera.  B.  Feb.  6,  1817,  Berlin;  d. 
Mar.  6,  1891,  Munich. 

Kindermann  (Johann  Erasmus) 
wrote  "  Harmonia  Organica,"  etc., 
with  organ  music  in  tablature,  Nurem- 
berg, 1645;  played  organ  at  Nurem- 
berg Aegidienkirche.  B.  Nuremberg; 
d.  April  14,  1655,  Nuremberg. 


King.  Chinese  percussion  instru- 
ment played  like  the  xylophone. 

King  (Charles)  composed  anthems, 
services  (six  published  by  Novello) ; 
played  organ;  master  of  choristers, 
St.  Paul's  Cathedral.  B.  1687,  Bury 
St.  Edmunds,  Eng.;  d.  Mar.  17,  1748, 
London. 

King  (Matthew  Peter)  composed 
"Matrimony,"  1804,  "The  Ameri- 
cans "  (with  Braham),  1811,  and  other 
dramatic  works  for  the  English  Opera 
House,  London ;  the  oratorio  "  Inter- 
cession," which  contains  "  Eve's  Lam- 
entation"; songs,  piano  sonatas; 
wrote  theory.  B.  1773,  London;  d. 
1823,   London. 

King  (Robert)  composed  songs; 
played  in  the  royal  bands  of  William 
and  Mary  and  Anne  of  Eng.;  gave 
concerts.     D.  after  1711. 

King  Charles  II.  G.  A.  Macfar- 
ren's  two-act  comic  opera,  to  book  by 
Desmond  Ryan,  based  on  Payne's  play, 
was  first  performed  Oct.  27,  1849,  at 
the  Princess's  Theatre,  London. 

King's  Band.  The  English  royal 
band  at  present  consists  of  30  per- 
formers adapted  to  the  requirements 
of  modern  music.  The  first  English 
royal  band  of  record  is  that  of  Edward 
IV,  which  comprised  13  minstrels,  who 
played  trompets,  shawlmes,  and  small 
pipes. 

King's  Theatre,  as  rebuilt,  1790, 
was  the  largest  theatre  in  London, 
having  a  capacity  of  3300.  Again  de- 
stroyed by  fire,  Dec.  6,  1867,  it  was 
not  reopened  until  ten  years  later  for 
dramatic  performances,  and  was  then 
devoted  to  opera.  The  first  playhouse 
bearing  the  name  was  opened  April  9, 
1705.  Vanbrugh  was  the  architect, 
but  the  acoustics  were  so  wretched 
that  it  was  necessary  to  remodel  the 
interior.  Handel's  operas  and  early 
oratorios  were  performed  in  that 
house,  which  was  variously  known  as 
the  King's,  the  Queen's,  and  "Her 
Majesty^s."  The  present  King's  Thea- 
tre, which  occupies  part  of  the  old 
site,  was  opened  in  1897  by  Beerbohm 
Tree. 

Kinnor.    Heb.    Small  harp  or  lyre. 

Kirbye  (George)  composed  madri- 
gals,  contributed  to   Este's   "Whole 


KIBCEE 


304 


KJEBtTLI' 


Booke  of  PaaJmes,"  1592,  and  the 
"Triumphs  of  Oriana,"  1601.  D. 
1634,  Bury  St.  Edmunds,  Bng. 

Klrche.     Qer.    Church. 

Kircheu  Cantaten.  Qer.  Church 
cantatas. 

Kirchenmusik.  Oer.  Church 
music. 

Kirchenmusik,  A&ademisclies 
Institut  fiir  was  founded  in  Berlin, 
1822,  and  since  1875  has  been  under 
the  management  of  the  Royal  Acad- 
emy of  Fine  Arts,  the  director  of  the 
institution  being  a  member  of  the 
Academic  Senate.  The  training  is 
intended  to  produce  cantors,  organists, 
and  music  masters. 

Kirchenstyl.     Qer.  .  Church  style. 

Eircher  (Athanasius)  wrote  the 
monumental  "  Musurgia  universalis 
sive  ars  magna  consoni  et  dissoni," 
Rome,  1650,  which  not  only  gives  the 
history  and  theory  of  music  as  then 
known,  but  illustrations  and  descrip- 
tions of  the  existing  musical  instru- 
ments with  examples  of  the  composi- 
tions of  Froberger,  Frescobaldi,  and 
other  eminent  musicians.  Kircher 
was  a  member  of  the  Society  of  Jesus, 
taught  mathematics  and  philosophy  at 
Wurzberg  until  driven  out  by  the 
Thirty  Years'  War,  and  finally  settled 
in  Rome,  where  he  was  the  intimate 
of  many  of  the  greatest  scholars  and 
churchmen  of  the  period.  B.  Geisa, 
near  Fulda,  May  2,  1602;  d.  Nov.  28, 
1680,  Rome. 

Kirchgessner  (Kariauna)  played 
the  musical  glasses;  was  blind  from 
her  fourth  year,  but  so  talented  that 
Mozart  composed  a  quintet  for  her. 
B.  1770,  Waghausel,  Baden;  d.  Deo. 
9,  1809,  Schaffhausen. 

Kirchman  (Jacob)  manufactured 
harpsichords  in  London,  having  been, 
like  Shudi,  an  apprentice  of  Tabel, 
who  learned  the  craft  from  the 
Ruckers,  of  Amsterdam.  He  married 
Tabel's  widow,  thus  succeeding  to  his 
former  master's  stock  and  business, 
and  acquired  a  large  fortune.  He 
composed  organ  music,  published  it 
himself,  and  played  organ  at  St. 
George's,  Hanover  Square,  London. 
On  his  death,  1778,  Abraham,  a 
nephew,    succeeded    to    the    business. 


which  remained  in  the  hands  of  his 
descendants  until  1896,  when  the  busi- 
ness was  absorbed  by  the  COLLARDS. 

Kirchner  (Theodor)  composed  a 
string  quartet.  Op.  20,  songs,  piano 
pieces;  played  organ,  directed  the 
Musikschule  at  Wurzberg;  taught 
ensemble,  Dresden  Conservatory;  pupil 
of  C.  F.  Becker  at  Leipsic  and  fol- 
lower of  Schumann.  B.  Dec.  10,  1823, 
Neukirchen,  Saxony;  d.  Sept.  19,  1903, 
Hamburg. 

Kirnberger  (Jobann  Philip)  com- 
posed motets,  cantatas,  fugues,  so- 
natas for  clavier;  wrote  on  theory; 
played  violin  in  orchestra  of  Frederick 
the  Great;  became  chapelmaster  to 
Princess  Amalie.  B.  Saalfeld,  Thur- 
ingia,  1721;    d.  July  27,  1783,  Berlin. 

Eistler  (Cyrlll)  composed  the 
operas  "  Kunihild,"  "  Arm  Elslein," 
Schwerin,  1902;  "Baldurs  Tod,"  "Ros- 
lein  im  Hag,"  BIberfeld,  1903;  songs, 
choruses,  organ, pieces;  pupil  of  WuU- 
ner,  Rheinberger,  and  Fr.  Lachner, 
Munich  Conservatory.  B.  Mar.  12, 
1848,  Grossaitingen,  near  Augsberg; 
add.  Bad  Kissingen. 

Eistner  (Karl  Friedrich)  pub- 
lished music  in  Leipsic,  succeeding  to 
the  house  established  by  PROBST, 
1831,  issuing  works  by  Mendelssohn, 
Moscheles,  Chopin,  Bennett.  B.  Mar. 
3,  1797,  Leipsic;  d.  Dec.  21,  1844. 
Julius  continued  the  publishing  busi- 
ness, issuing  works  by  Hiller,  Rubin- 
stein, and  Taubert.  Son  of  KARL 
FRIEDRICH;    d.  May  13,  1868. 

Kit.  Pocket  violin  with  total  length 
of  16  inches,  and  three  strings,  c',  g', 
d",  formerly  used  by  dancing  masters. 

Eitchiner  (William,  ]yC.D.)  com- 
posed the  operetta  "  Love  Among  the 
Roses  " ;  ecUted  song  collections.  B. 
1775,  London;  d.  Feb.  27,  1827, 
London. 

Eittel  (Johann  Christian)  com- 
posed two  books  of  organ  preludes,  six 
clavier  sonatas;  played  organ;  pupil 
of  Johann  Sebastian  Bach.  B.  Feb. 
18,  1732,  Erfurt;  d.  May  18,  1809, 
Erfurt. 

Ejerulf  (Halfdan)  composed  more 
than  100  songs,  many  to  text  by  BjBrn- 
son;  gave  concerts  in  Christiana; 
taught;    influenced  Grieg  and  other 


KLAFSKY  305  KLENGEL 

Norwegian  composers.  In  early  life  Seliumann;  pupil  of  the  Paris  Cbn- 
a  law  student.  Kjerulf's  songs  gained  servatoire,  where  she  won  first  piano 
him  a  government  award,  1850,  which  prize  at  12.  B.  June  27,  1866,  Paris; 
enabled  him  to  study  a  year  with  m.  Charles  Samuel,  the  sculptor,  1894; 
Richter  in  Leipsic.    B.  Sept.  15,  1815,    add.  Paris. 

Christiana;  d.  Aug.  11,  1868,  Gref-  Klein.  Small,  minor;  as  Bass- 
sen,  near  Christiana.  geige,  'cello;    Halbton,  minor  semi- 

Klafsky  (Katherina)  sang  sop.  in  tone, 
opera  in  the  principal  cities  of  Europe  Klein  (Be'rnliard)  composed  the 
and  America,  excelling  in  such  r51es  operas  "  Dido,"  1823,  "  Ariadne," 
as  Isolde  and  Brunnhilde.  Daughter  1825,  "  Irene  " ;  the  oratorios  "  Job," 
of  a  cobbler  in  Wieselburg,  Hungary;  "Jeptha,"  "David";  cantata  to 
the  death  of  her  mother,  1870,  left  Schiller's  "  Worte  dea  Glaubens,"  two 
her  a  beggar,  and  her  first  employment  masses,  and  other  church  music  and 
was  as  nurse  maid  in  Vienna.  Her  songs;  taught  Berlin  University  and 
singing  so  pleased  her  employers  that  Institut  fur  Kirchenmusik.  B.  Mar. 
they  obtained  lessons  for  her  from  6,  1793,  Cologne;  d.  Sept.  9,  1832, 
Neuwirth,  the  organist.     Four  years    Berlin. 

later  she  was  chorus  singer  in  the  Kleinmichel  (Bichard)  composed 
Komische  Opera.  Mme.  Marchesi  gave  the  operas  "  Manon,"  1883,  Hamburg; 
her  free  lessons,  and  in  1876  she  made  "  Pfeifer  von  Dusenbach,"  Hamburg, 
her  appearance  in  Leipsic  as  Venus  1891;  two  symphonies;  conducted 
in  "  Tannhauser."  Thereafter  she  ob-  Hamburg  opera ;  pupil  Leipsic  Con- 
tained recognition  as  a  leading  Wag-  servatory.  B.  Dec  31,  1846,  Posen; 
nerian   singer,   and   was    an   especial    add.  Berlin. 

favourite  in  America  during  her  en-  Klemm  (Carl  August)  succeeded 
gagement  with  the  Damrosch-Bllis  Clara  Wieck-Schumann's  father  in 
company  at  the  Metropolitan  Opera  1821  as  proprietor  of  a  publishing 
House,  New  York.  Twice  a  widow,  house  and  circulating  library  of  music 
Mme.  Elafsky  married  Otto  Lohse,  the    in  Leipsic. 

conductor,  Hamburg,  1895.  B.  Sept.  Klemm  (Johaun)  composed  organ 
19,  1855;   d.  Sept.  22,  1896,  Hamburg,    music  and  "  Partitura  sen  Tabulatura 

Klang.     Oer.    Sound;    timbre.  Italica,"   etc.,   Dresden,,  1631;     pupil 

Klangboden.  Oer.  Resonance  box  of  Heinrich  Schiitz.  B.  Oederan, 
or  sounding  board.  Saxony,  about  1600;    d.  about  1651. 

Klangfarbe.  Oer.  Tone  quality  Klengel  (August  Alexander) 
or  timbre.  composed  "  Canons  et  Fugues,"^  con- 

Slanggeschlecht.  Oer.  Genus  or  certos,  and  other  piano  music;  court 
mode  of  sound.  organist  at  Dresden;    pupil  of  Clem- 

Klangsaal.     Oer.    Concert  room.        enti.     B.  Dresden,  Jan.  27,  1783;    d. 

Klangstufe.     Oer.     Degree  in  the    Nov.  22,  1852,  Dresden, 
scale.  Klengel    (Julius)    composed    for 

Klappe.  Oer.  Key  or  valve  of  a  and  played  'cello,  G«wandhaus  Quar- 
wind  instrument.  tet   and   Orchestra;     royal   professor 

Klappenfliigelhom.  Oer.  Key  and  'cello  teacher,  Leipsic  Conserva- 
BUGLE.  tory;    pupil  of  Emile  Hegar,  and  of 

"  Klappentrompete.  Oer.  Key  harmony  with  Jadassohn.  B.  Leipsic, 
TRUMPET.  Sept.  24,  1859;    add.  Leipsic.     Paul 

Kleber  (Leonhard)  made  a  valu-  played  violin ;  assistant  court  con- 
able  collection  of  South  German  organ  ductor,  Stuttgart ;  conductor  Arion 
music  in  tablature,  1520-24,  now  in  Society,  Leipsic,  1893-8;  Deutscher 
the  Royal  Berlin  Library;  played  or-  Liederkranz,  New  York,  1898-1903, 
gan  Pforzheim,  Baden.  B.  GSppingen,  when  he  again  became  conductor  of 
Wiirtemberg;    d.  1556.  the  Leipsic  Arion;    composed  songs; 

Kleeberg  (Clotilde)  played  piano,  Dr.  Phil.  B.  May  13,  1854,  Leipsic; 
noted  for  interpretations  of  Bach  and    brother  of  JULIUS;    add.  Leipsic. 

20 


KLENOVSKT 


306 


KNEISEL 


Klenovsky  (Nicholas  Semeno- 
Tich)  composed  an  a  capella  "  Georg- 
ian Liturgy,"  1902;  incidental  music 
to  "Messaline,"  "Anthony  and  Cleo- 
patra," ballets;  collected  and  har- 
.  monized  Eussian  folksongs  with  Mel- 
gounoT;  conducted  imperial  opera  at 
Moscow;  directed  music  school  at 
TifLis;  assistant  imperial  chapelmas- 
ter,  1902;  pupil  of  Moscow  Conser- 
vatory. B.  1857,  Odessa;  add.  St. 
Petersburg, 

Klindworth.  (Earl)  edited  new 
critical  edition -of  Chopin;  arranged 
piano  score  of  the  "  Ring  des  Nibelun- 
gen";  played  piano  and  gave  orches- 
tral concerts  in  London,  1854-68,  then 
became  piano  teacher,  Moscow  Con- 
servatory. In  1882  he  became  joint 
conductor  of  Berlin  Philharmonic  con- 
certs and  established  his  own  school, 
later  merged  with  that  of  Scharwenka; 
in  1893  retired  to  Potsdam  as  teacher 
and  composer;  in  youth  a  violin 
player,  then  piano  pupil  of  Liszt,  at 
Weimar,  1852-54.  B.  Hanover,  Sept. 
25,  1830;    add.  Potsdam. 

Klingel.     Ger.    Small  bell. 

Klotz  (Egidius)  made  violins  at 
Mittenwald  in  the  Bavarian  Alps; 
said  to  have  been  a  pupil  of  Stainer, 
17th  century.  Matthias  made  vio- 
lins, dated  Mittenwald,  1670  to  1696; 
pupil  of  his  father  EGIDIUS.  B. 
1653;  d.  1743.  Sebastian  and  Joseph 
made  the  best  instruments  of  any  of 
the  (^mily.  They  were  sons  of  MAT- 
THIAS. Other  instrument  makers  of 
the  name  were  Gteorge,  Ulfichael, 
Charles,  and  a  younger  Egidius. 
Many  instruments  made  by  members 
of  this  family  are  accepted  as  Stainers, 
the  Stainer  model  having  been  adopted 
by  most  of  them. 

Elughardt  (August  Eriedrich 
Martin)  composed  the  operas  "  Mir- 
iam," Weimar,  1871;  "Iwein"  and 
"Gudrun,"  1879  and  1882,  Neustre- 
litz;  "Die  Hochzeit  des  Monchs," 
Dessau,  1886;  five  symphonies,  the 
oratorios  "  Die  Zersti5rung  Jerusa- 
lems,"  "Die  Grablegung  Christi," 
"  Judith  " ;  court  music  director  at 
Weimar,  Neustrelitz  and  Dessau;  fol- 
lower of  Liszt.  B.  CSthen,  Nov.  30, 
1847;    d.  Aug.  3,  1902,  Dessau. 


Enabe  (William)  made  pianos  in 
Baltimore,  1837,  at  first  with  Henry 
Gaehle,  later  in  partnership  with  his 
sons  Ernest  and  William,  and  his 
son-in-law  Charles  Eniedel.  The 
business  grew  to  large  proportions. 
B.  1797,  Kreutzburg,  Saxe-Weimar; 
d.  1864,  Baltimore.  In  1908  the  busi- 
ness had  descended  to  the  third  genera- 
tion. Ernest  J.,  b.  July  5,  1869, 
Baltimore;  add.  Baltimore;  and  Wil- 
liam, b.  Mar.  23,  1872,  Baltimore; 
add.  New  York. 

Enapp  (William)  composed  the 
psalm  tune  "  Wareham  "  or  "  Bland- 
ford  " ;  published  "  New  Sett  of 
Psalms  and  Anthems  in  four  parts," 
1738;  parish  clerk  of  Poole,  Eng.  B. 
1698;    d.  Poole,  1768. 

Knapton  (Samuel)  published  music 
in  York,  Eng.,  toward  the  close  of  the 
18th  century.  Philip  composed  over- 
tures and  piano  pieces;  was  assistant 
conductor  at  the  York  Festivals,  1823- 
28 ;  continued  the  publishing  business 
of  his  father,  SAMUEL.  B.  1788, 
York;    d.  June  20,  1833,  York. 

Enecht  (Justin  Heinrich)  com- 
posed "  Le  Portrait  Musical  de  la 
Nature,"  a  symphony  having  a  pro- 
gramme like  that  of  Beethoven's  Pas- 
toral, which  it  antedates,  but  does 
not  otherwise  resemble;  wrote  on 
theory;  played  organ;  court  opera 
and  concert  director  at  Stuttgart.  B. 
Biberach,  Suabia,  Sept.  30,  1752;  d. 
Dec.  1,  1817,  Biberach. 

Enee  Stop.  Lever  controlling  the 
swell  on  harmoniums,  operated  by  the 
knees. 

Eneisel  (Franz)-  founded  the 
Kneisel  String  Quartet;  long  the 
chief  exponent  of  chamber  music  in 
America;  was  concertmeister  of  the 
Boston  Symphony  Orchestra,  1885  to 
1903,  when  he  retired  to  give  his 
whole  time  to  chamber  music;  asso- 
ciated conductor  of  the  Worcester 
(Mass.)  Festivals  of  1902  and  1903; 
taught  violin  in  Institute  of  Musical 
Art,  New  York,  1905-8.  Mr.  Kneisel's 
first  teacher  was  his  father,  a  band- 
master of  Olmutz,  Moravia.  At  15  he 
captured  the  violin  prize  at  the  Buch- 
arest Conservatory,  then  studied  with 
Grun  and  Hellmesberger  at  the  Vienna 


KNELL  30?  EOBB^ 

Conservatory.  In  1882  he  became  solo  pupil  of  Corfe;  Anglican  clergyman, 
violinist  at  the  Hofburg  Theatre,  S.  July  26,  1812,  Bradford-on-Avon; 
Vienna;  in  1884  concertmeister  of  the  son  of  the  Rev.  Francis,  D.D.;  d.  June 
Bilse  Orchestra,  Berlin.  B.  Jan.  26,  2,  1887,  Great  Yarmouth,  Eng. 
1865,  Bucharest ;  add.  New  York.  The  Enorr  (Iwan)  composed  "  Uk- 
Eneisel  Quartette  was  founded  in  rainsche  Liebeslieder,"  for  four  voices 
1885  under  the  patronage  of  Col.  and  piano,  to  his  own  verses;  sym- 
Henry  L.  Higginson,  of  Boston.  For  phonic  fantasie  for  orchestra,  the 
many  years  the  members  were  Franz  opera  "  Dunja,"  Coblentz,  Mar.  23, 
Kneisel,  first  violin;  A.  THEODORO-  1904;  taught  at  the  Hoch  Conserva- 
WICZ,  second  violin;  Louis  Svecenski,  tory,  Frankfort-am-Main;  pupil  of 
viola;  Alwyn  SCHROEDER,  'cello,  the  Leipsic  Conservatory.  B.  Jan. 
In  1908  the  members  besides  Mr.  Knei-  3,  1853,  Mewe,  West  Prussia;  add. 
sel  were  Louis  Svecenski,  who  played   Frankfort. 

viola.  Violin  pupil  of  the  Vienna  Con-  Enott  (John)  composed  and  com- 
servatory,  Svecenski  settled  in  Boston,  piled  church  music  issued  as  "  Sacred 
1885,  as  a  first  violin  in  the  B(5ston  Harmony,"  etc.,  and  "  Selections  of 
Symphony  Orchestra,  and  was  an  orig-  Tunes,"  Aberdeen,  1814,  and  Edin- 
inal  member  of  the  quartette.  In  the  burgh,  1824.  B.  Sevenoaks,  Kent;  d. 
latter  years  of  his  orchestral  engage-  1837,  Edinburgh, 
ment  he  led  the  violas;  then  taught,  Eniipfer  (Sebastian)  composed 
New  York.  Julius  Roentgen  played  church  cantatas,  funeral  motets;  be- 
second  violin.  Son  of  a  pianist  and  came  cantor  of  the  Leipsic  Thomas- 
grandson  of  a  concertmeister  at  the  schule,  1657.  B.  Asch,  Saxony,  Sept. 
Gewandhaus,  Roentgen  was  a  pupil  of  7,  1633;  d.  1676. 
Dr.  Joachim,  and  resigned  as  concert-  Enyvett  (Charles)  sang  Eng. 
meister  of  the  DUsseldorf  Symphony  Chapel  Royal  and  Ancient  Concerts; 
Orchestra  to  join  the  quartette.  B.  helped  found  Vocal  Concerts  with 
Amsterdam,  1882;  add.  New  York.  Samuel  Harrison,  1791-94;  organist 
Willem  Willeke  played  'cello.  Pupil  Eng.  Chapel  Royal.  B.  Feb.  22,  1752; 
of  The  Hague  Conservatory  under  d.  Jan.  19,  1822,  London.  Charles 
Hartog,  and  later  of  the  Rotterdam  played  organ  St.  George's,  Hanover 
Conservatory,  he  became  solo  'cellist  Square,  London;  composed  glees;  pub- 
at  Riga,  1896;  then  taught  at  Dussel-  lished  "Selection  of  Psalm  Times," 
dorf;  toured;  became  solo  'cellist  1823.  B.  1773,  London;  son  of 
with  Leipsic  Philharmonic  Orchestra,  CHARLES;  d.  Nov.  2,  1852.  Wil- 
1901-3;  then  solo  'cellist  Covent  Gar-  liam  composed  the  prize  glee  "When 
den  and  Imperial  Vienna  operas.  B.  the  fair  rose,"  anthems  for  the  coro- 
The  Hague,  Sept.  29,  1878;  add.  New  nation  of  William  IV  and  Victoria; 
York.  sang,  Eng.  Chapel  Royal;    conducted 

Enell.    TolKng  of  a  bell.  Concerts  of  Ancient  Music,  York  and 

Eneller  Hall  became  the  Royal  Birmingham  Festivals.  B.  April  21, 
British  Military  School  of  Music  in  1779;  son  of  the  elder  CHARLES; 
1887,  and  provides  both  a  practical  d.  Nov.  17,  1856,  Ryde.  Deborah 
course  for  bandsmen  and  a  normal  sang  in  English  concerts  and  oratorio ; 
course  for  bandmasters.  Bandmasters  pupil  of  Greatorex.  B.  Shaw,  Lan- 
in  the  British  army  are  rated  as  war-  cashire;  m.  WILLIAM,  1826;  d. 
rant  officers  and  have  an  allowance  of    1876. 

70  pounds  per  annum  in  addition  to       Eobb6  (Gustav)  wrote  "Wagner's 

regimental  pay.  Life  and  Works,"  "The  Ring  of  the 

Enicky-Enackers.     BONES.  Nibelung,"    "Plays    for    Amateurs," 

Eniegeige.    Qer.    Viola  da  Gamba.    "  My  Rosary  and  other  poems  " ;   com- 

Enight  (Eev.  Joseph  Philip)  com-    posed  songs,  taught  piano ;  pupil  of 

posed  "Rocked  in  the  Cradle  of  the    Adof  Hagen,  Wiesbaden,  and  Mosen- 

Deep,"  in  all  about  200  songs,  several   thai,' New  York;    graduate  Columbia 

of  which  were  once  highly  popular;    College  and  Law  School.    B.  Mar.  4, 


EOCH 


308      KONIITGIN   VON   SABA 


1857,  New  York;  add.  Morristown, 
N.  J. 

Eoch,  (Heinrich  Christopb)  wrote 
on  theory,  a  dictionary  of  music, 
which  was  completed  by  von  Dommer ; 
violinist  and  chamber  musician  at 
Weimar.  B.  Oct.  10,  1749,  Eudol- 
Btadt;    d.  Mar.  12,  1816,  Budolstadt. 

Kochel,  von  (Bitter  Dr.  Iiudwig) 
prepared  a  complete  thematic  cata- 
logue of  Mozart's  works;  was  famous 
as  botanist  and  mineralogist;  be- 
came Imperial  Councilor  and  Knight 
of  the  Order  of  Leopold.  B.  Stein, 
near  Krems,  Jan.  14,  1800;  d.  June 
3,  1877,  Salzburg. 

Kochetov  (ITicholas  Bazoumnik- 
ovich)  composed  the  opera  "  A  Ter- 
rible Revenge,"  after  Gogol's  story; 
Arabian  suite  for  orchestra;  sym- 
phony in  E  minor,  24  songs;  wrote 
music  criticism  for  Moscow  publica- 
tions. B.  July  8,  1864,  Oranienbaum; 
add.  Moscow. 

Eoczalski  (Baoul)  played  piano; 
debut  at  seven;  retired  1896,  at  which 
time  his  compositions  had  reached 
Op.  46.  B.  Jan.  3,  1885,  Warsaw; 
add.  Warsaw. 

Kohler  (Christian  liouis  Hein- 
rich) composed  two  books  of  piano 
etudes,  Op.  112  and  Op.  128;  "Maria 
Dolores"  and  two  other  operas,  the 
ballet  "  Zauberkomponist " ;  conducted 
at  Marienburg  and  Ubling.  B.  Bruns- 
wick, Sept.  5,  1820;  d.  Feb.  16,  1886, 
KSnigsberg. 

Kohler  (John)  made  military  band 
instruments  in  London,  1780;  band- 
master Lancashire  Volunteers.  B. 
Volkenrode,  near  Cassel.  John,  his 
nephew,  succeeded  to  the  business, 
giving  way  to  his  son,  John  Au- 
gustus, and  in  1908  the  business  was 
in  the  hands  of  Augustus  Charles, 
grandson  of  the  second  JOHN. 

Eolb  (Xarlmann)  composed  church 
music;  played  organ  in  the  Benedic- 
tine Abbey  of  Ashbach,  where  he  was 
ordained  priest,  1729;  later  was  per- 
mitted to  enter  a  Munich  household 
as  tutor.  B.  KSstlam,  Bavaria,  1703; 
d.  1765,  Munich. 

Koler  (David)  composed  "Ten 
Psalms  "  to  German  text  for  four  to 
six  voices;    chapelmaster  at  Gilstrow 


and  cantor  at  the  Zwickau  Marien- 
kirehe.    B.  Zwickau;  d.  1565,  Zwickau. 

Kollmann  (August  Friedrich 
Christian)  composed  psalms,  songs, 
sonatas,  "  The  Shipwreck,"  a  sym- 
phony for  orchestra;  wrote  on  theory; 
played  organ  in  the  German  Chapel 
of  George  III,  of  Eng.  B.  1756,  Engel- 
bostel,  Hanover;  d.  April  19,  1829, 
London.  George  August  succeeded 
to  the  post  of  organist  held  by  his 
father  A.  F.  C.     D.  Mar.  19,  1845. 

Eompel  (August)  played  violin; 
concertmeister  at  Weimar;  pupil  of 
Spohr.  B.  Brtickenau,  Aug.  15,  1831; 
d.  April  7,  1891,  Weimar. 

Etinig  (Johann  Balthasar)  edited 
the  "  Harmonischer  Lieder-Schatz," 
Frankfort,  1738,  which  contains  1940 
chorales  for  use  in  the  evangelical 
German  churches;  directed  church 
music  in  Frankfort-am-Main.  B. 
1691;    d.   1758. 

Eonigsklnder.  Engelbert  Hum- 
perdinck's  fairy  opera  in  three  acts, 
to  book  by  Ernst  Rosmer,  was  first 
performed  Jan.  23,  1897,  at  Munich, 
and  subsequently  in  an  English  ver- 
sion in  London.  While  it  did  not 
achieve  the  instant  popularity  of  its 
predecessor,  "HANSEL  UND  GRE- 
TEL,"  it  is  likewise  music  drama 
of  the  strictest  Wagnerian  type.  The 
composer  was  revising  the  work,<.1908. 

Eonigsperger  (Marianus)  com- 
posed church  music,  sonatas,  and  sym- 
phonies and  dramatic  music;  played 
organ  admirably;  devoted  his  profits 
to  the  purchase  of  a  new  organ  in  the 
Benedictine  Abbey  of  Pnifening,  near 
Ratisbon,.  where  he  was  a  monk,  as 
well  as  organist  and  music  director. 
B.  Roding,  Bavaria,  Dec.  4,  1708;  d. 
Oct.  9,  1769. 

Eoningin  von  Saba.  Carl  Gold- 
mark's  four-act  opera,  to  book  by 
J.  Mosenthal,  was  first  performed 
Mar.  10,  1875,  at  Vienna.  Assad, 
favourite  of  King  Solomon,  is  about 
to  marry  Sulamith,  daughter  of  the 
High  Priest.  The  Queen  of  Sheba, 
journeying  to  Jerusalem  on  her  famous 
visit  to  the  wise  king,  is  surprised  by 
Assad  in  her  bath  in  a  forest  pool. 
Assad  loves  her,  but  is  unable  to  learn 
who  she  is,  and,  by  advice  of  Solomon, 


KONITTS 


309 


KOTZWABA 


prepares  to  forget  the  strange  woman 
in  marriage  with  Sulamith.  The 
Queen  of  Sheba,  attended  by  Aatoroth 
and  a  great  retinue,  enter  at  this 
moment,  and  it  is  understood  that 
she  is  to  unveil  for  the  first  time 
before  Solomon.  As  her  features  are 
revealed  Assad  at  once  recognizes  her. 
She  seems  not  to  know  him,  however, 
but  when  she  hears  Solomon  comfort 
Assad,  assuring  him  that  on  the  mor- 
row he  shall  be  united  to  his  bride, 
the  Queen  rages  with  jealousy.  That 
night  Astoroth  lures  Assad  to  a  foun- 
tain, where  the  Queen  awaits  him, 
and  he  again  falls  victim  to  her 
charms.  The  wedding  procession  is 
interrupted  the  next  morning  by  the 
entrance  of  the  Queen,  bearing  rich 
gifts  for  the  bride.  Overwhelmed  by 
her  beauty,  Assad  throws  away  the 
nuptial  ring  which  Solomon  has  given 
him,  and  openly  avows  his  passion 
for  the  Queen.  The  priests  believe 
Assad  .  possessed  by  an  evil  spirit, 
which  they  undertake  to  exorcise,  but 
Assad,  who  hears  his  name  murmured 
by  the  Queen,  falls  to  his  knees  and 
worships  her  as  a  goddess.  For  this 
desecration  of  the  temple  the  priests 
demand  Assad's  death.  Solomon 
merely  decrees  that  his  favourite  shall 
go  into  exile,  and  the  Queen,  vainly 
seeking  to  ensnare  the  King  himself, 
again  finds  an  opportunity  to  try  her 
wiles  on  Assad,  who  is  alone  in  the 
desert  when  the  Queen  overtakes  him 
on  her  homeward  journey.  But  Alssad 
has  repented  of  his  sin  and  folly.  He 
curses  her,  and  invokes  Heaven's  bless- 
ing upon  Sulamith.  Finally  the  tempt- 
ress leaves  him,  and  as  he  sinks  by 
the  wayside  Sulamith  finds  him,  and 
he  expires  in  her  arms. 

Konius  (Georges  E.)  composed  the 
ballet  "Daita,"  Moscow,  1896;  the 
orchestral  suite  "  Child  Life,"  Op.  1 ; 
cantata  in  memory  of  Alexander  III, 
Op.  8;  symphonic  poem  "From  the 
World  of  Illusion,"  Op.  23;  piano 
music;  taught  Moscow  Conservatory, 
and  from  1902  in  the  Moscow  Phil- 
harmonic Society's  Music  School; 
pupil  of  Taneiev  and  Arensky,  Mos- 
cow Conservatory.  B.  Sept.  30,  1862, 
Moscow;    add.  Moscow. 


Kontski,  de  (Charles)  played 
piano;  debut  at  seven  in  Warsaw; 
later  taught  in  Warsaw  and  Paris. 
B.  Sept.  6,  1815,  Warsaw;  d.  Paris, 
Aug.  27,  1867.  Antoine  composed 
"Rfiveil  du  Lion"  and  other  salon 
pieces  for  piano;  the  opera  "Les 
deux  distraits,"  London,  1872;  played 
piano  in  tours  of  Europe  and  America. 
B.  Oct.  27,  1817,  Cracow;  d.  Deo.  7, 
1899,  Nowogrod,  Lithuania.  Stanis- 
las played  piano  in  Paris  and  St. 
Petersburg;  pupil  of  his  brother  AN- 
TOINE. B.  Oct.  8,  1820;  add.  Paris. 
ApoUinaire  played  violin;  court 
musician  to  Russian  Emperor;  di- 
rector Warsaw  Conservatory;  pupil 
of  Paganini,  and  in  early  life  of  his 
brother  CHARLES  and  the  Warsaw 
Conservatory.  B.  Oct.  23,  1825,  War- 
saw;   d.  June  29,  1879,  Warsaw. 

Kopfstimme.     Qer.    Head  voice. 

Koppeln.     Q-er.    Couplers. 

Korbay  (Francis  Alexander)  com- 
posed "Nuptiale"  for  orchestra,  songs; 
sang  ten.,  Budapest  Opera,  1865-68; 
lectured  and  gave  song  recitals.  New 
York,  1871-73;  taught  singing  Royal 
Academy  of  Music,  London,  1894; 
godson  of  Liszt.  B.  May  8,  1846, 
Budapest;    add.  London. 

Korestchenko  (Arsene  Nicholae- 
vich)  composed  the  operas  "  Baltha- 
sar's  Feast,"  "The  Angel  of  Death," 
"  The  Ice  Palace,"  the  ballet  "  Magic 
Mirror,"  incidental  music  to  "The 
Trojans,"  and  "  Iphiggnia  in  Aulis," 
a  lyric  symphony,  Op.  23;  two  sym- 
phonic sketches;  taught  harmony, 
Moscow  Conservatory,  in  which  he  had 
been  a  prize  pupil.  B.  Dec.  18,  1870, 
Moscow;    add.  Moscow. 

Kotzeluch  (Johann  Anton)  com- 
posed a  cantata  for  sop..  Op.  7,  ora- 
torios, operas;  chapelmaster  Prague 
Cathedral.  B.  Dee.  13,  1738,  Wel- 
warn,  Bohemia;  d.  Feb.  3,  1814, 
Prague.  Leopold  composed  the  operas 
"Judith,"  "  Debora  imd  Sisera,"  the 
oratorio  "Moses  in  Aegypten,"  30 
symphonies,  24  ballets;  court  com- 
poser to  Leopold  II  of  Austria  on 
Mozart's  death;  pupil  of  his  uncle 
JOHANN  ANTON.  B.  about  1754, 
Welwarn;    d.  May  7,  1818. 

Kotzwara  (Eraaz)  composed  "  The 


EBAET 


310 


KBBTSCHKEB 


Battle  of  Prague,"  sonatas,  songs; 
played  viola  London  orchestras.  B. 
Prague;  committed  suicide,  Sept.  2, 
1791,  London. 

Kraft.  Qer.    Vigour,  energy. 

Kraft  (Anton)  composed  chamber 
music;  played  'cello  and  baritone 
under  Haydn  in  Esterhazy's  band; 
finally  entered  service  of  Prince  Lob- 
kowitz.  B.  Kokitzan,  near  PSlsen, 
Deo.  30,  1752;  d.  Aug.  28,  1820, 
Vienna.  ITicolaus  played  'cello  in 
the  Schuppanzigh  Quartet;  composed 
chamber  music;  court  musician  at 
Stuttgart;  pupil  of  his  father  AN- 
TON. B.  Esterhaz,  Dec.  14,  1778;  d. 
May  18,  1853.  Friedrioh  played 
'cello, Stuttgart  Court  Orchestra;  pupil 
of  his  father  NICOLAUS.  B.  Feb. 
12,  1807,  Vienna;    d.  Stuttgart. 

Krakoviak  or  Cracovienne.  Po- 
lish dance  in  2-4  time. 

Krauss  (ISarie  Oabrielle)  sang 
sop.  in  opera  with  great  success  at 
Vienna,  Paris,  and  St.  Petersburg; 
pupil  of  Vienna  Conservatory  and  of 
Marchesi,  who  called  her  "  the  sing- 
ing Kachel "  because  of  her  talent  as 
an  actress;  taught  singing.  B.  Vi- 
enna, Mar.  23,   1842;    d.   1903. 

Krebs  (Johann  Ludwig)  com- 
posed "  Klavier  Uebungen,"  contain- 
ing fugues,  suites,  and  sonatas; 
church  music;  favourite  pupil  of 
Johann  Sebastian  Bach,  and  in  early 
life  of  his  father,  JOHANN  TOBIAS, 
himself  a  Bach  pupil.  B.  Feb.  10, 
1713,  Buttelstadt,  Thuringia;  d.  1780. 
Ehrenfried  Christian  Traugott  be- 
came court  organist  and  music  direc- 
tor at  Altenburg,  in  succession  to  his 
father,  JOHANN  LUDWIG.  Jo- 
haim  Oottfried  became  organist  and 
music  director  at  Altenburg  on  the 
death  of  his  brother,  E.'  C.  T. 

Krebs  (Karl  August)  composed 
the  operas  "Silva,"  1830;  "Agnes 
Bernauer,"  1835;  songs,  church  music; 
conductor  Hamburg  Theatre,  1827-50, 
when  he  became  chapelmaster  to  the 
Dresden  court;  son  of  A.  and  Char- 
lotte Miedcke,  but  was  adopted  by 
the  singer  Krebs.  B.  Nuremberg,  Jan. 
16,  1804;  d.  May  16,  1880.  iffiarle 
played  piano;  debut  at  11;  later 
touring  Europe  and  America;    pupil 


of  her  father,  KARL  AUGUST.  B. 
Dresden,  Dec.  5,  1851;  m.  Mr.  Bren- 
ning;    d.  June  27,  1900. 

Krebbiel  (Henry  Edward)  wrote 
"Notes  on  the  Cultivation  of  Choral 
Music  and  the  Oratorio  Society  of 
New  York";  "Review  of  the  New 
York  Musical  Season"  (annual,  1885- 
90);  "Studies  in  the  Wagnerian 
Drama,"  "  The  Philharmonic  Society 
of  New  York,"  "How  to  Listen  to 
Music,"  "  Music  and  Manners  in  the 
Classical  Period  " ;  criticisms  in  the 
New  York  "  Tribune  "  from  1880,  and 
fox  six  years  prior  to  that  date  in  the 
Cincinnati  "  Gazette  " ;  lectured  New 
York  Institute  of  Musical  Art;  Cheva- 
lier of  the  Legion  of  Honor.  B.  Mar. 
10,  1854,  Ann  Arbor,  Mich.;  add. 
New  York. 

Krelsler  (Fritz)  played  violin; 
debut  at  seven  in  a  children's  con- 
cert-given in  Vienna  by  Carlotta 
Patti,  later  developing  into  a  vir- 
tuoso. Son  of  a  physician  in  Vienna 
who  was  a  talented  amateur;  he  be- 
came a  pupil  of  Hellmesberger  and 
Auber  at  the  Vienna  Conservatory, 
where  at  ten  he  won  the  gold  medal 
for  violin  playing;  then  of  Masaart 
and  Delibes  (theory),  at  the  Paris 
Conservatoire,  where  he  won  the  gold 
medal  at  12;  toured  America  with 
Moritz  Rosenthal  at  14.  Retiring  for 
a  time,  he  studied  medicine  in  Vienna, 
art  in  Paris  and  Rome;  became  an 
officer  in  the  Uhlans,  but  in  1899  re- 
turned to  the  concert  stage.  His  first 
great  success  was  achieved  in  the 
United  States,  which  he  frequently 
revisited,  notably  in  1908.  B.  Feb.  2, 
1875;    add.  Vienna. 

Kreisleriana.  Robert  Schumann's 
piano  fantasias  were  named  after  the 
eccentric  chapelmaster  in  one  of  Hoff- 
mann's stories. 

Kreislleder.     Qer.    Song  cycle. 

Kreissle  von  Hellborn  (Hein- 
rioh.)  wrote  a  notable  life  of  Schubert; 
Dr.  Jur.  and  imperial  financial  secre- 
tary at  Vienna.  B.  1812,  Vienna;  d. 
April  6,  1869. 

Kretsohmer  (Edmund)  composed 
the  operas  "Die  Folkunger,"  "Hein- 
rich  der  Loewe,"  "Der  Fluchtling," 
"Schon  Rohtraut,"  masses,  choruses; 


KRETZSCHMAB 


,311 


KBIEOSLIES 


court  organist  at  Dresden;  pupil  of 
Julius  Otto  and  Johann  Schneider.  B. 
Ostritz,  Saxony,  Aug.  31,  1830;  add. 
Dresden. 

Kretzschinar  (August  Ferdinand 
Hermann)  composed  part  songs  and 
organ  music;  taught  Leipsic  Conser- 
vatory, 1871;  conducted  musical  so- 
cieties, the  Metz  Theatre,  1876;  di- 
rected music  Rostock  University,  1877 ; 
Leipsic  University,  1887-98;  organ- 
ized Academic  Orchestral  concerts, 
1890;  wrote  criticism,  analytical  pro- 
grammes, and  lectured.  B.  Jan.  19, 
1848,  Olbemhau,  Saxony;  add.  Leipsic. 

Kreutzer  (Conradin)  composed 
"  Conradin  von  Schwaben,"  "  Das 
Kachtlager  in  Granda,"  "  Der  Ver- 
schwender,"  "  Cordelia,"  and  in  all  30 
operas;  "  Die  Sendung  Mosis,"  an  ora- 
torio; songs,  and  incidental  music; 
chapelmaster  to  the  King  of  Wurtem- 
berg,  and  at  the  Karthnerthor  and 
Josephstadt  theatres,  Vienna ;  pupil  of 
Albrechtsberger.  B.  Messkirch,  Baden, 
Nov.  22,  1780;   d.  Dec.  14,  1849,  Eiga. 

Kreutzer  (Bodolphe)  composed  40 
etudes  or  caprices  for  violin  never 
surpassed  in  usefulness  to  violin  stu- 
dents, prepared  with  Rode  and  Bail- 
lot  the  celebrated  "M6thode  de  Vio- 
lon,"  still  used  by  students;  ranked 
with  the  greatest  violinists  of  his  day 
(Beethoven  dedicated  a  famous  sonata, 
to  him),  and  as  one  of  the  best  of 
teachers  and  most  popular  of  com- 
posers. Kreutzer  received  his  first 
lessons  from  his  father  and  from 
Stamitz,  but  on  becoming  first  violin 
in  the  French  Chapel  Royal  through 
the  influence  of  Marie  Antoinette, 
he  profited  largely  by  studying  the 
methods  of  Mestrino  and  Viotti. 
Later  he  was  solo  violinist  at  the 
Theatre  des  Italiens,  and  at  the  Op6ra 
in  succession  to  Rode.  Meantime 
"Jeanne  d'Aro,"  1790;  "Paul  et  Vir- 
ginie,"  1791 ;  and  "  LodSiska,"  1791 ; 
spread  his  fame  as  a  composer,  and 
he  produced  in  all  39  operas  and  bal- 
lets, 19  violin  concertos,  15  string 
quartets,  etc.  In  1798  he  met  Beetho- 
ven while  in  Vienna,  while  with  Ber- 
nadotte,  the  French  ambassador.  On 
the  establishment  of  the  Conservatoire 
in  Paris   he  was  made   first   violin 


teacher,  held  appointments  under 
Napoleon  as  First  Consul  and  as  Em- 
peror, and  in  1815  became  chapel- 
master to  Louis  XVIII  and  Chevalier 
of  the  Legion  of  Honor.  From  1817 
to  1824  he  was  chief  conductor  at  the 
Academic,  but  a  year  later  broke  his 
arm  and  retired  from  active  life.  His 
last  opera,  "  Mathilde,"  to  his  great 
distress,  was  refused  a  hearing.  B. 
Nov.  16,  1766,  Versailles;  d.  June  6, 
1831,  Geneva.  Auguste  played  violin 
in  the  chapels  of  Napoleon  and  Louis 
XVIII,  succeeded  his  brother  RO- 
DOLPHE  at  the  Conservatoire.  B. 
1781,  Versailles;  d.  Aug.  31,  1832, 
Paris.  Leon  wrote  music  criticism  for 
Parisian  periodicals.  B.  Sept.  23, 
1817;  son  of  AUGUSTE;  d.  Oct.  6, 
1868,  Vichy. 

Kreutzer  Sonata.  Ludwig  van 
Beethoven's  celebrated  sonata  for  vio- 
lin and  piano.  Op.  47,  was  first  per- 
formed in  1803  by  the  composer  and 
the  mulatto  violinist  Bridgetower  at 
an  Augarten  concert.  It  was  dedicated 
to  Rodolphe  Kreutzer,  described  aa 
the  composer's  friend. 

Kreuz.  Ger.  Sharp.  Sopel, 
double  sharp. 

Kreuz  (Emil)  composed  for  and 
played  viola;  member  of  Grompertz 
Quartet,  1888-1903,  and  since  then 
attached  to  Covent  Garden  Opera.  B. 
May  25,  1867,  Elberfeld;  add.  London. 

Krieger  (Adam)  wrote  and  com- 
posed songs ;  organist  to  the  Elector  of 
Saxony;  pupil  of  Scheldt  and  Hein- 
rich  Schiitz.  B.  Driesen,  Prussia,  Jan. 
7,  1634;   d.  Dresden,  June  30,  1666. 

Krieger  (Johann  Phillpp)  com- 
posed songs,  operettas,  12  sonatas  for 
violin  and  viola  da  gamba  with  cem- 
balo; chapelmaster  at  Saxe-Weissen- 
fels;  ennobled  by  the  Emperor.  B. 
Nuremberg,  Feb.  26,  1649;  d.  Weis- 
senfels,  Feb.  6,  1725.  Johann  com- 
posed organ  music,  songs,  clavier 
pieces  published  as  "Anmuthige 
Clavier-Uebung,"  much  admired  by 
Handel;  music  director  and  organist 
at  Zittau.  B.  Nuremberg,  Jan.  1, 
1652;  younger  brother  of  JOHANN 
PHILIPP;    d.  July  18,  1735,  Zittau. 

Kriegslied  or  Krlegsgesang.  0&: 
Warsong. 


EBOLL 


313 


KUGmjILATSnSl 


EroU  (Eranz)  edited  works  of 
Bach  and  Mozart;  taught  in  Berlin. 
B.  Bromberg,  June  22,  1820;  d.  May 
28,  1877,  Berlin. 

Erome.    Oer.    Quaver. 

Erommer  (Franz)  composed  69 
string  quartets  and  quintets,  two  four- 
part  masses  with  orchestra  and  organ, 
music  for  wind  instruments;  violin- 
ist and  chapelmaster  to  Count  Sty- 
rum',  and  later  to  the  Enjperor.  B. 
Kamenitz,  Moravia,  Dec.  5,  1759;  d. 
Jan.  8,  1831. 

Erotalon.    CROTALUM. 

Erumm.     Ger.    Crooked  or  bent. 

Erummhorn.  Obsolete  woodwind 
instrument  which  gives  its  name  to 
an  organ  stop  of  reed  pipes;  8-ft. 
pitch,  variously  known  as  Croknorne, 
Clarinet,  and  Cremona. 

Erumpholz  (Joliaiui  Baptist) 
composed  six  grand  concertos  for 
harp,  32  sonatas  with  violin  accom- 
paniment, symphonies  for  harp  and 
small  orchestra;  harp  virtuoso,  teacher, 
and  at  one  time  member  of  Haydn's 
Orchestra  at  Esterhiz,  he  finally  set- 
tled in  Paris.  B.  Zlonitz,  near  Prague, 
1745;  drowned  himself  in  the  Seine 
after  the  elopement  of  his  wife,  Feb. 
19,  1790.  His  wife,  born  Meyer,  gave 
harp  concerts  in  London,  1788-1802. 
Pupil  of  JOHANN  BAPTIST,  whom 
she  married  at  16,  but  afterwards  de- 
serted. Wenzel  played  violin,  Vi- 
enna Court  Opera,  and  mandolin;  was 
among  the  first  to  recognize  the  genius 
of  Beethoven,  who  composed  a  mando- 
lin sonata  for  him,  and  "  Gesang  der 
Monche  "  to  his  memory.  B.  1750 ; 
brother  of  JOHANN  BAPTIST;  d. 
May  2,  1817,  Vienna. 

Eruse  (Johann  Secundus)  played 
violin,  1892,  in  the  Joachim  Quartet; 
pupil  of  Joachim  and  his  assistant  at 
the  Berlin  Hochschule;  founded  his 
own  quartet ;  conducted  Saturday  and 
Monday  Popular  Concerts  in  London, 
1902;  gave  festival  concerts.  B.  Mar. 
22,  1859,  Melbourne,  Australia;  add. 
London.    • 

Erustiche  Instrumente.  Ger.  In- 
strument of  percussion. 

Eubellk  (Jan)  played  violin ;  debut 
in  Vienna  at  eight,  and  on  maturity, 
touring  Europe  and  America.    Son  of 


a  market  gardener  with  some  skill 
in  music,  who  was  his  first  teacher, 
young  Kubelik  became  a  pupil  of 
Sevcik  at  the  Prague  Conservatory, 
1892,  where  he  remained  six  years.  A 
successful  appearance  in  Vienna,  1898, 
led  to  a  tour  of  Italy.  While  in  Rome 
he  received  the  order  of  St.  Gregory 
the  Great  from'  Pope  Leo  XIII.  An 
American  tour,  1902-3  established  his 
fame  and  fortune.  In  Aug.,  1903,  he 
married  Countess  Czaky-Szell  and  be- 
came an  Hungarian  citizen.  He  re- 
visited the  United  States  in  the  sea- 
son of  1907-8.  B.  July  5,  1880, 
Michle,  near  Prague;  add.  Debreczin, 
Hungary. 

Eucken  (Friedrich'Willielm)  com- 
posed the  operas  "  Die  Flucht  nach 
der  Schweiz,"  "Der  Pratendent," 
Stuttgart,  April  21,  1847,  many  once 
highly  popular  songs;  chapelmaster 
at  Stuttgart  in  succession  to  Lind- 
painter;  pupil  of  Sechter,  Vienna, 
Halg'vy  and  Bordogni,  Paris.  B.  Nov. 
16,  1810,  Bleckede,  Hanover;  d.  April 
13,   1882,  Schwerin. 

Eufferath  (Hubert  Ferdinand) 
composed  a  symphony,  piano  concerto, 
string  quartet;  played  violin  and 
piano;  taught  theory  at  the  Brussels 
Conservatory;  pianist  to  Leopold  I. 
B.  June  10,  1818,  Muhlheim;  d.  June 
23,  1896,  Brussels.  Maurice  became 
director  of  the  Theatre  de  la  Monnaie, 
Brussels,  1900,  producing  many  new 
works  of  the  French  and  Belgian 
schools;  wrote  lives  of  Berlioz  and 
Vieuxtemps,  monographs  on  Wagner 
operas,  which  he  mounted  for  per- 
formance in  Brussels;  an  editor  of 
the  "  Independence  Beige,"  1873-1900; 
Chevalier  of  the  order  of  Leopold,  of 
the  Sauveur  de  Gr6ce;  commander  of 
the  order  of  Alphonso  XII.  B.  Jan.  8, 
1852,  Brussels;  son  of  HUBERT 
FERDINAND;  add.  Brussels.  _An- 
tonia  sang  sop.  in  concert,  especially 
known  for .  interpretations  of  Schu- 
mann and  Brahms.  B.  Oct.  28,  1857, 
Brussels ;  daughter  of  HUBERT  FER- 
DINAND; m.  Edward  Speyer,  Eng- 
land, 1885,  and  retired. 

Eugelmann  (Hans)  published  a 
song  book  for  the  Lutheran  Church, 
1540,  containing  several  of  his  own 


KT7HE 


313 


KYBIELLE 


compositions;  trumpeter  at  Inns- 
bruck;  later  chapelmaster  at  KBnigs- 
berg  to  Duke  Albert.  B.  Augsburg; 
d.  1542,  KBnigaberg. 

_Euhe  CWilhelm)  composed  salon 
pieces;  gave  concerts,  played,  and 
taught  at  Brighton  and  London; 
taught  Royal  Academy  of  Music, 
London,  1886-1904.  B.  Prague,  Dec. 
10,  1823;    add.  Brighton. 

Kiihhom.  Qer.  Cow  horn  or  Cor 
de  vaches. 

Kuhlau  (Friedrich)  composed 
operas,  flute  music,  some  piano  pieces, 
which  are  still  performed;  became 
first  flautist  and  then  composer  to  the 
King  of  Denmark.  B.  Sept.  11,  1786, 
Uelzen,  Hanover;  d.  Mar.  12,  1832, 
Copenhagen. 

Eiihiastedt  (Eriedricb.)  composed 
organ  music,  oratorios,  operas,  sym- 
phonies; wrote  on  theory;  pupil  of 
C.  H.  Rinck.  B.  Dec.  20,  1809,  Oldis- 
leben,  Saxe- Weimar;  d.  Jan.  10,  1858, 
Eisenach. 

Kuhnau  (Joliann)  composed  "  Eine 
Sonata  aus  dem  B "  in  three  move- 
ments, published  in  his  "  Sieben  Par- 
tien,"  Leipsic,  1695,  now  regarded  as 
the  first  work  in  modern  sonata  form ; 
a  collection  of  suites,  "  Biblical  So- 
natas," which  are  interesting  exam- 
ples of  early  programme  music ;  wrote 
on  theory;  organist  and  cantor  of 
the  Thomaskirche,  Leipsic,  lecturer 
Leipsic  University.  B.  1660,  Geising, 
Bohemia;    d.  June  25,  1722. 

Kuhnau  (Johann  Christoph) 
composed  4-part  chorales;  edited 
choral  book;  cantor  and  organist 
Dreif  altigkeitskirche,  Berlin ;  con- 
ducted choral  works.  B.  Feb.  10, 
1735,  Volkstadt,  near  Eisleben;  d. 
Oct.  13,  1805. 

Kullah  (Theodor)  composed  con- 
certo in  C  minor  for  piano  with  or- 
chestra. Op.  55;  concert  etude,  Op. 
121 ;  collections  of  small  piano  pieces, 
including  "  Kinderleben  "  and  "  Deux 
Portefeuilles  de  Musique";  wrote 
valuable  "  School  of  Octave  Playing"; 
with  Marx  and  Stem  founded  the  in- 
stitution now  known  in  Berlin  as  the 
Stem  Conservatory,  later  the  Neue 
Akademie  der  Tonkunst,  Berlin;  be- 
came court  pianist  to  the  King  of 


Prussia,  1846;  pupil  of  Czerny.  B. 
KrotoBchin,  Posen,  Sept.  12,  1818;  d. 
Mar.  1,  1882.  Eranz  composed  the 
opera  "Inez  de  Castro,"  Berlin,  1877; 
succeeded  his  father,  THEODOR,  as 
head  of  Neue  Akademie  der  Tonkunst. 
B.  April  12,  1842,  Berlin;  add.  Berlin. 
Adolf  wrote  "Aesthetik  des  Clavier- 
spiels,"  Berlin,  1861,  and  criticism  for 
Berlin  press.  B.  Feb.  23,  1823 ;  brother 
of  THEODOR;  d.  Deo.  25,  1862, 
Berlin. 

Kummer  (Friedrich  August)  com- 
posed 200  entr'acts  for  the  Dresden 
Theatre,  where  he  played 'cello;  wrote 
a  "  Violoncello  School " ;  composed 
concertos  and  fantasias  for  'cello.  B. 
Aug.  5,  1797,  Meiningen;  d.  May  22, 
1879,  Dresden. 

Kuntzen  (Johann  Paul)  composed 
operas,  oratorios;  sang  at  Leipsic 
Opera ;  became  chapelmaster  at  Zerbst 
and  Wittenberg,  composer  to  Ham- 
burg Opera,  and  finally  organist  of 
the  Lfibeck  Marienkirche.  B.  Leisnig, 
Saxony,  Aug.  30,  1696;  d.  Mar.  20, 
1757,  LUbeck.  Adolf  Karl  composed 
passions,  oratorios,  church  cantatas, 
12  sonatas  for  harpsichord;  toured 
Europe  as  clavier  virtuoso;  became 
organist  at  the  Liibeck  Marienkirche 
in  succession  to  his  father,  JOHAKN 
PAUL.  B.  Sept.  22,  1720,  Witten- 
berg; d.  1781,  Lttbeck.  Friedrich 
Iiudwig  Aemilius  composed  "  Holger 
Danske "  and  other  Danish  operas ; 
became  director  Royal  Copenhagen 
Opera.  B.  Sept.  24,  1761,  Lubeck; 
son  of  ADOLPH  KARL;  d.  1817, 
Copenhagen. 

Kuntzsch  (Johann  Gottfried) 
taught  piano  to  Robert  Schumann,  who 
dedicated  his  piano  studies.  Op.  56,  to 
him.    D.  1854. 

Eupsch  (Karl  Oustav)  directed 
the  Singing  Academy  of  Rotterdam, 
later  the  theatres  at  Freiburg  and  at 
Naumberg;  taught  theory  to  Robert 
Schumann.  B.  Berlin;  d.  July  30, 
1846,  Naumberg. 

Kurz.     Qer.    Short. 

Kyrie  Eleison.  Or.  "Lord  have 
mercy."  Part  of  the  MASS  immedi- 
ately following  the  Introitus  and  pre- 
ceeding  the  Gloria  in  Excelsis. 

Kyrielle.    Fr.    Litany. 


314 


LACOHBE 


L  is  the  abbreviation  for  left,  aa 
L.  H.,  left  hand. 

La  is  the  syllable  used  in  solmisa- 
tion  for  A;  the  synonym  for  A  in 
French  and  Italian. 

La  Bemol.     Fr.    The  note  A  flat. 

La  Bemol  Majeur.  Fr.  Key  of 
A  flat  major. 

La  Bemol  Mineur.  Fr.  Key  of 
A  flat  minor. 

Labial.  Having  lips;  flue  pipes  as 
distinguished  from  reeds. 

Labialstimmen.  Oer.  Lip-stops 
or  flue  organ  pipes. 

Labitzky  (Josef)  composed  dances ; 
founded  orchestra  and  gave  concerts 
from  St.  Petersburg  to  London.  B. 
July  4,  1802,  Schonfeld,  Eger;  d. 
Carlsbad,  Aug.  19,  1881.  August  was 
associated  with  his  father,  JOSEF, 
until  1853;  then  settled  in  Carlsbad 
as  composer  and  conductor.  B.  Oct. 
22,  1832.  Wilhelm  played  violin; 
settled  in  Toronto,  Can. 

Labium.  L.  "Lip"  (of  organ 
pipe). 

Lablanche  (Luigi)  became  the 
most  famous  bass  of  his  generation, 
possessing  a  voice  of  extraordinary 
power,  ranging  from  E  flat  to  e'  flat, 
and  a  dramatic  talent,  which  made 
him  equally  at  home  in  comedy  or 
tragedy.  Born  of  an  Irish  mother 
and  French  father  at  Naples,  La- 
blanche  studied  violin  and  'cello  at 
the  Conserratorio  della  Pieta  de' 
Turchini,  but  in  1812  made  his  debut 
in  Naples  as  a  buffo,  later  appearing 
as  primo  basso  at  Parlermo,  Milan, 
and  from  1824  throughout  Europe 
until  1857.  His  "  Mfithode  de  chant " 
was  published  in  Paris  by  Canaux.  B. 
Dec.  6,  1794;    d.  Jan.  23,  1858,  Paris. 

La  Borde,  de  (Jean  Benjamin) 
composed  50  operas,  songs;  wrote 
"  Essai  sur  la  Musique  ancienne  et 
moderne,"  1780.  B.  Sept.  5,  1734, 
Paris;  guillotined,  July  22,  1794, 
Paris. 

Lachner  (Tbeodor)  played  organ 
and  directed  chorus  of  the  Munich 
Court  Theatre;  son  and  pupil  of  an 
organist  at  Pain,  Bavaria.  B.  1798; 
d.  May  22,  1877.  Tranz  composed 
the  oratorios  "  Moses,"  "  Die  vier 
Menschenalter";     the    operas    "Die 


Biirgachaft,"  "  Alidia,''  "  Catarina 
Cornard,"  "  Benvenuto  Cellini,"  a  re- 
quiem, three  masses,  eight  sympho- 
nies, seven  suites,  songs;  chapelmaster 
of  the  Karnthnerthor  Theatre,  Vienna; 
court  conductor  at  Mannheim;  gen- 
eral music  director  from  1852  to  1865, 
at  Munich.  B.  April  2,  1803;  son  of 
THEODOR;  d.  Jan.  20,  1890,  Munich. 
Iguaz  composed  the  operas  "Der 
Geisterturm,"  "  Die  Regenbruder," 
"Loreley,"  ballets,  symphonies, 
"  tiberall  Du,"  and  other  popular 
songs;  assisted  his  brother  FRANZ 
at  Vienna  and  Munich,  became  chapel- 
master at  Stockholm,  1858.  B.  Sept. 
11,  1807;  d.  Feb.  24,  1895,  Hanover. 
Vincenz  composed  the  prize  song  "  In 
der  Feme,"  music  to  "  Turandot " ; 
conducted  opera  in  London  and  Mann- 
heim; taught  in  Carlsruhe  Conserva- 
tory. B.  July  19,  1811 ;  son  of  THEO- 
DOR; d.  Jan.  22,  1893,  Carlsruhe. 
Thekia  played  organ  at  St.  Gteorge's 
Church,  Augsburg.  B.  Munich; 
daughter  of  THEODOR;  d.  Augs- 
burg. Christiane  played  organ  at 
Munich.  B.  Munich,  1805;  daughter 
of  THEODOR;    d.  Munich. 

Laclinitli  (Ludwlg  Wenzel)  com- 
posed opera;  played  horn;  was  best 
known  as  a  "  deranger "  of  other 
composers'  music,  butchering  "  Zau- 
berflete  "  and  other  masterpieces.  B. 
Prague,  July  7,  1746;   d.  Oct.  3,  1820. 

Lacombe  (Louis  Brouillon)  com- 
posed "Manfred,"  1847,  and  "Ava," 
1850;  dramatic  symphonies  for  soli, 
chorus,  and  orchestra;  "  Sapho,"  a 
melodrama  with  choruses,  which  won 
a  prize  at  the  Paris  Exposition,  1878; 
the  operas  "  La  Madone,"  Theatre 
Lyrique,  1860;  "  Winkelried,"  "Le 
Tonnelier  de  Nuremburg"  ("Melster 
Martin  und  seine  Gresellen"),  "Kerri- 
gan," which  were  posthumously  per- 
formed; solo  studies  for  piano,  cham- 
ber music;  prize  piano  pupil  Paris 
Conservatoire,  later  of  Czerny.  B. 
Bourges,  Nov.  26,  1818;  d.  Sept.  30, 
1884,  St.  Vaast  la  Hougue. 

Lacombe  (Paul)  composed  three 
symphonies,  divertissement  and  suite 
for  orchestra,  three  violin  sonatas, 
won  the  Chartier  prize,  1889,  with 
chamber  music;    became  correspond- 


LACBIKEOSO                   315  I.AKM]S 

ing  member  of  the  Institut,  1901.    B.  Lahee    (Henry)    composed    "  Love 

July    11,    1837,    Carcassonne;     add.  me   little,   love  me   long"  and  other 

Paris.  popular    songs ;     the    cantatas    "  The 

liacrimoso.     It.    Mournfully,  tear-  Building    of    the    Ship "    and    "  The 

f'llly-  Sleeping  Beauty  " ;   played  organ  Holy 

Lacy  (John.)  sang  bass  in  London  Trinity  Church,   Brompton,   1847-74; 

concerts;     lived    in    Calcutta,    1818-  pupil  of  Sterndale  Bennett,  Goss,  and 

26.      B.   Bath,   Eng.;     d.    1865,    Dev-  Potter.     B.   April   11,   1826,   Chelsea, 

onshire.      Mrs.    Francesco    Bianchl  Eng;    add.  Croydon. 

Jackson    sang    in    London    concerts.  La    HUe,    de    (George)    composed 

B.   1776,  London;    m.  Bianchi,  1800;  eight  masses   in  five,  six,  and  seven 

after  his  death  m.  LACY,   1812.     D.  parts,  to  themes  taken  from  Lassus 

May  19,  1858,  Ealing.  and    other    celebrated   Netherlanders, 

Lacy  (Ilichael  Bophino)  played  motets,  and  chansons;  choirmaster  at 
violin;  debut  at  six  in  Bilbao,  later  Tournai  Cathedral,  later  chapelmaster 
with  success  in  Paris  and  London;  of  the  Spanish  Chapel  Royal.  B.  about 
became  a  comedian;  adapted  operas  1550,  Aritwerp;  d.  1589,  Madrid, 
for  English  production;  led  ballet  at  L'Heritier  (Jean)  composed  mo- 
King's  Theatre,  London.  B.  July  19,  tets  and  masses;  pupil  of  Josquin  des 
1795,  Bilbao;  d.  Sept.  20,  1867,  Pres;  last  publication,  "Moteti  de 
Pentonville.  la  fame,"  dated  Venice,  1555. 

Lade.    Ger.    Wind  chest  of  organ.  L'Homme  Arme.     Chanson  of  un- 

La  Bestra.    It.    The  right.  known    origin    which    furnished    the 

La  Diese.     Pr.    The  note  A  sharp,  canti   firmi   of  many   15th  and   16th 

Lady  Henriette.     Flotow's,  Burg-  century  masses. 

muUer's,  and  Deldevez'  three-act  ballet  Lahoussaye  (Pierre)  directed  Ital- 

pantomime  was  first  performed  Feb.  1,  ian  opera  in  Jliondon,  1770-75 ;    Con- 

1844,  at  the  Grand  Op6ra,  Paris.     It  cert  Spirituel,  Comedie  Italien,  Th^a- 

was   afterwards  expanded  by  Flotow  tre  Feydeau,  Paris,  1779-90 ;    taught 

as  "  MARTHA  "  into  his  most  success-  Paris    Conservatoire.      B.    April    12, 

ful  opera.  1735,  Paris;   d.  1818,  Paris. 

La  Fage,  de  (Juste  Adrien  Le-  Lai.  Fr.  Lied;  lay. 
nolr)  wrote  "  Cours  complet  de  Plain-  Laidlaw  (Bosena  AJina)  became 
chant,"  Paris,  1855,  other  books  on  court  pianist  to  the  Queen  of  Han- 
ancient  music;  editedr  "Le  Plain  over.  Schumann  dedicated  his  "  Fan- 
Chant";  composed  songs,  church  tasiestucke,"  Op.  12,  to  her  after  she 
music,  and  the  comic  opera  "  I  Cre-  had  played  at  a  Gewandhaus  concert, 
diti."  B.  Mar.  28,  1801,  Paris;  d.  B.  Bretton,  Eng.,  April  30,  1819;  m. 
Mar.  8,  1862,  insane  asylum  of  Mr.  Thompson,  1852;  d.  May  29,  1901, 
Charenton.  London! 

Lafont  (Charles  Philippe)  com-  Lajarte,  de  (Theodore  Eduard 
posed  more  than  200  once  popular  Dufaure)  compiled  "  Chefs-d'oeuvres 
ballads,  seven  violin  concertos,  two  classiques  de  I'opSra  francais " ;  an 
operas;  played  violin;  debut  in  Ham-  annotated  catalogue  of  works  pro- 
burg  at  11,  later  solo  violinist  to  the  duced  at  the  Paris  Opfira,  of  which  he 
Russian  Emperor  and  to  Louis  XVTII ;  was  librarian,  music  criticisms ;  pupil 
pupil  of  Rode.  B.  Dec.  1,  1781,  Paris;  Paris  Conservatoire.  B.  July  10, 
d.  Aug.  23,  1839.  1826,   Bordeaux;     d.   June   20,    1890, 

Lage.   Oer.     "  Position."     Used  as  Paris, 

to  violin  shifts,  chords,  harmony.  Lakme.      Leon   Delibes's   three-act 

Lagrlmando.        It.      Tearfully,  opgra  eomique,  to  book  by  Goudinet 

mournfully.  and    Gille,    was    first    performed    in 

Lag^erre  (Jean)  sang  ten.  in  Lon-  Paris,   April    14,    1883,    and   is   well 

don  operas,  1726-37,  as  "  Mr.  Legar."  known   in   England   and   America   in 

B.  about   1700;    son  of  the  painter;  English  versions.    Gerald,  an  English 

d.  1748,  London.  army  officer,  Ellen,  and  Rose,  daugh- 


LALANDE 


316 


liAMBEBT 


ters  of  the  Viceroy  of  India,  and  his 
friend  Frederic,  trespass  in  the  gar- 
den of  Nilakantha,  a  Brahman  priest 
with  a  profound  hatred  of  foreigners. 
Gerald  is  left  alone  in  the  garden, 
where  he  meets  Lakmg,  the  lovely 
daughter  of  the  Brahman,  and  they 
are  inspired  by  mutual  passion.  As 
her  father  returns,  Lakm6  makes 
Gerald  leave;  but  the  old  priest  sees 
that  his  hedge  has  been  broken,  and 
vows  to  avenge  himself  on  the  tres- 
passers. In  the  second  act,  disguised 
as  a  penitent,  Nilakantha  takes  Lakmg 
into  the  market  place,  where  he  hopes 
her  singing  will  assist  him  in  discov- 
ering her  lover.  The  plan  succeeds, 
and  he  stabs  Gerald,  and  then  es- 
capes. But  Gerald  does  not  die.  In 
the  third  act  we  find  him  in  a  jungle, 
nursed  back  to  health  by  Lalmi6. 
While  the  girl  has  gone  to  bring  water 
from  a  sacred  well,  Gerald's  regiment 
marches  near  enough  to  his  hiding 
place  for  him  to  hear  its  music,  and 
his  friend  Frederic  recalls  him  to  his 
duty,  and  to  Ellen,  his  betrothed. 
Finding  her  lover  faithless,  Lakm€ 
poisons  herself  with  a  jungle  flower, 
and  dies,  but  not  before  Nilakantha 
comes,  still  bent  on  vengeance,  only 
to  hear  that  Gerald  has  been  made 
holy  by  the  sacred  water,  and  that 
his  daughter  has  sacrificed  herself  to 
the  gods  in  his  place.  Lakmfi's  fa- 
mous bell-song  occurs  in  the  second 
act,  "  Where  strays  the  Hindoo 
Maiden?"  The  ballet  music  with 
which  this  act  closes  is  likewise  a 
popular  concert  number.  The  origi- 
nal cast  consisted  of:  Gerald,  Tala- 
zac,  ten.;  Frederic,  Barrg,  bar.; 
Nilaka^itha,  Cobalet,  bass;  Hadji, 
Chenneviere,  ten.;  Lakm#,  Mile,  van 
Zandt,  sop.;  Ellen,  con.;  Rose,  Mile. 
E6my,  sop.;  Mistress  Bentson,  Mile. 
Mole,  sop;  Mallika,  Mile.  Frandin, 
mez.  sop. 

lialande  (D€sir@)  played  oboe  ajid 
cor  anglais  in  Lamoureux  and  Hall€ 
concerts;  pupil  of  Paris  Conserva- 
toire. B.  1867,  Paris;  d.  Nov.  8, 
1904,  London. 

Lalande  (Henriette  ClSmentine) 
sang  sop.  in  opera;  debut  at  Naples, 
1814,  later  with  great  success  in  Italy, 


and  in  London  and  Paris,  1830-33. 
B.  1798,  Dunkerque;  m.  the  horn 
player  Mgric;    d.  Sept.  7,  1867,  Paris. 

lialande,  de  (Michel  Richard) 
composed  42  motets  for  chorus  and 
orchestra,  the  cantata  "  Concert  d'Es- 
sulape,"  the  "  Ballet  des  Fees,"  and 
other  works  for  the'  court  theatre  of 
Louis  XIV  and  XV  of  France,  to 
whom  he  was  surintendant  of  music. 
B.  Dec.  15,  1657,  Paris;  d.  June  18, 
1726,  Paris. 

Lalla  Kookh.  Felicien  David's 
two-act  opera,  to  book  by  Lucas  and 
Carrg,  was  first  performed  May  12, 
1862,  at  the  Paris  Opfira  Comique. 
Gasparo  L.  P.  Spontini's  festival  play 
was  first  performed  Jan.  27,  1821,  at 
Berlin.  Frederic  Clay's  cantata  was 
first  sung  at  the  Brighton  Festival, 
1877.  Other  musical  works  based  on 
Thomas  Moore's  poem  are  "  PARA- 
DISE ANDTHEPERI,"  the  "VEILED 
PROPHET,"  Anton  Rubinstein's  opera 
"  Feramors,"  composed  for  the  Rus- 
sian court;  C.  E.  Horn's  opera,  Dub- 
lin, 1822. 

Ijalo  (Eduard  Victor  Antoine) 
composed  the  opera  "  Le  Roi  d'Ys," 
"  Symphonic  Espagnole,"  the  ballet 
"  Namouna,"  the  pantomime  "  Neron," 
20  songs,  the  unfinished  opera,  "  La 
Jacquerie,"  string  quartet  in  E  flat; 
symphony  in  G  minor ;  Fantaisie  Nor- 
vegienne  for-  violin  and  orchestra, 
Rhapsodie  Noryegienne  and  Concerto 
Russe  for  violin,  a  violin  concerto  in 
F.  Pupil  of  the  Lille  Conservatory, 
Lalo  made  his  first  appearance  in 
Paris  as  a  viola  player  in  the 
Armingaud- Jacquard  Quartet.  "  Fi- 
esque,"  an  early  attempt  at  opera, 
containing  a  ballet  which  has  since 
won  popularity,  was  his  first  impor- 
tant composition.  He  received  the 
Cross  of  the  Legion  of  Honor  in  1880. 
B.  Jan.  27,  1823,  Lille;  d.  April  22, 
1892,  Paris. 

Lamb  (Benjamin)  composed  an 
Evening  Service  and  four  anthems; 
played  organ,  Eton  College,  Eng.,  18th 
century. 

Lambert  (George  Jackson)  com- 
posed overtures,  chamber  music,  and 
for  organ  and  piano;  played  organ 
Beverly  Minster  in  succession  to  his 


LAMBEBT 


317 


LANDI 


father,  George  Lambert,  the  two  hold- 
ing the  post  for  96  years.  B.  Nov. 
16,  1794,  Beverly,  Eng.;  d.  Jan.  24, 
1880. 

Lambert  (Lucien)  composed  the 
operas  "  Broc^liande,"  "  Le  Spahi," 
"La  Flamenca,"  Theatre  de  la  Galte, 
Paris,  Oct.  30,  1903;  "  Penticosa," 
"  La  sorciere  " ;  incidental  music  for 
"Sire  Olaf,"  "  Tanger  le  soir,"  a 
Moorish  rhapsody  for  orchestra; 
songs;  pupil  of  his  father,  a  pian- 
ist, later  of  Massenet  and  Dubois,  in 
Paris,  where  he  won  the  Institut 
prize,  1885,  with  his  lyric  scena 
"Prom6th6e  enohalng."  B.  1859, 
Paris;     add.  Paris. 

Lamberth  (Henry  Albert)  com- 
posed psalms,  songs,  and  piano  pieces ; 
conducted  Glasgow  Choral  Union  and 
Select  Choir;  played  organ.  B.  Jan. 
16,  1822,  near  Gosport;  d.  June  27, 
1895,  Glasgow. 

Lament.  Old  title  given  mournful 
songs  and  harp  music. 

Lamentabile.  It.  Lamentable, 
mournful. 

Lamentabilmente.  It.  Mourn- 
fully. 

Lamentando,  Lamentevole.  It. 
Mournful. 

Lamentationes  Hieremiae.  L. 
"  Lamentations  of  Jeremiah,"  selec- 
tions from  which  constitute  the  office 
of  the  TENEBRAE  sung  at  vespers 
on  Thursday,  Friday,  and  Saturday 
of  Holy  Week  in  the  Roman  Catholic 
service. 

Lam.entoso.  It.  Mournful,  plain- 
tive. 

Lamond  (Frederick  A.)  composed 
a  symphony  in  A,  the  overture  "  Aus 
dem  Schottisehen  Hochlande,"  sonata 
for  piano  and  'cello;  played  piano; 
pupil  of  Raflf  Conservatory,  von  Bu- 
low,  and  Liszt;  debut  in  Vienna, 
1885,  later  touring  Europe  and  Amer- 
ica. B.  Jan.  28,  1868,  Glasgow;  add. 
Berlin. 

Lamoureux  (Charles)  founded  the 
celebrated  Paris  concerts  which  bore 
his  name,  1881,  giving  many  works 
by  Reyer,  Lalo,  Chabrier,  and  d'Indy 
their  first  hearing,  introducing  Wag- 
ner's music  to  the  French  public;  was 
foremost  of  modern  French   conduc- 


tors. A  prize  violin  pupil  of  the  Paris 
Conservatoire,  Lamoureux  played  in 
the  orchestra  of  the  Gymnase  and 
Opera,  and  in  1860,  with  Colonne, 
Adam,  and  Pilet;  founded  a  chamber 
music  society,  and  in  1873  the  Soci^tS 
de  I'Harmonie  sacrfie,  at  which  the 
great  oratorios  were  performed.  In 
1876  he  was  conductor  at  the  Op6ra 
Comique,  and  the  same  year  at  the 
Op6ra,  and  until  1879  sub-conductor 
of  the  Conservatoire  concerts.  Official 
posts  proved  irksome,  and  the  com- 
plete success  of  the  Nouveaux  Con- 
certs, as  he  called  the  series  with 
which  his  name  was  thereafter  as- 
sociated, justified  his  withdrawal. 
From  1896  he  took  his  orchestra  on 
annual  visits  to  London,  meeting  with 
a  cordial  reception  there.  Camille 
Chevillard,  his  son-in-law,  became  his 
assistant,  and  continued  the  concerts 
after  Lamoureux's  death.  B.  Sept.  21, 
1834,  Bordeaux;  d.  Dec.  21,  1899, 
Paris. 

Lampe  (John  Frederick)  composed 
music  to  Carey's  "  Dragon  of  Want- 
ley,"  songs,  the  burlettia  "  Pyramus 
and  Thisbe " ;  wrote  on  thorough- 
bass; played  oboe  London  opera.  B. 
1703,  Saxony;  d.  July  25,  1751,  Edin- 
burgh. 

Lampertl  (Francesco)  taught  sing- 
ing for  25  years,  Milan  Conservatory, 
numbering  among  his  pupils  Albani, 
Campanini,  Cruvelli,  Sembrieh,  Tiber- 
ini,  basing  his  method  on  that  of  the 
old  Italian  school;  wrote  on  singing; 
Commander  of  the  Crown  of  Italy; 
pupil  of  the  Milan  Conservatory.  B. 
Mar.  11,  1813,  Savona;  d.  May  1, 
1892,  Como. 

Lampons.    Fr.    Drinking  song. 

Lampugnani  (Giovanni  Battista) 
composed  the  operas  "Roxana,"  "Al- 
fonso," "Alceste,"  and  "  Siroe,"  pro- 
duced in  London,  1743-75,  where  he 
was  conductor ;  "  Semiramide,"  Milan, 
1762;  "L'Amore  contadino,"  Lodi, 
1766.  B.  about  1706,  Milan;  d.  about 
1789. 

Lancers.  Quadrilles  with  elabo- 
rate figures. 

Landi  (Camilla)  sang  sop.  in 
concerts;  debut  in  Florence,  1884, 
later   in   recitals   throughout   Europe 


LAWDLEB                       318  LANGUAGE 

with  occasional  operatic  appearances  Langdon  (Richard)  composed  12 
in  Paris.  B.  Geneva,  1866;  add.  glees,  songs,  double  chant  in  F;  corn- 
Geneva,  piled  a  collection  of  Psalms  and  An- 

Iiandler.      Styrian   peasant  dance,  thems    published    as    "  Divine    Har- 

in    slow   3-4   time,   from   which   the  mony,"  1774;    played  organ  Ely  and 

waltz    was     probably    derived.      Its  Bristol   Cathedrals.     B.   about    1729, 

name  may  have  been  derived  from  the  Exeter;    d.  Sept.  8,  1803. 

district  of  Landel.  Lange  (Hieronym.us  Gregor)  com- 

Landolfl     (Carlo     Perdinando)  posed  "Media  vita,"  and  in  all  some 

made  violins  in  Milan  patterned  on  55  Latin  motets;    German  part  songs, 

those    of    Joseph    Guarnerius,    dated  masses;     school  cantor  at  Frankfort 

1750-60.  on   the    Odor,    1574.      B.    Havelberg, 

Landsberg    (Ludwig)    collected  Brandenburg;    d.   1587,  Breslau. 

ancient     music;     taught     piano     in  Lange,  de  (Samuel)  composed  for 

Rome.     B.  Breslau;    d.  May  6,  1858,  and     played     organ,     St.     Lawrence 

Rome.  Church,  Rotterdam.    B.  June  9,  1811; 

Lang  (Dr.  Benjamin  Johnson)  d.  Rotterdam,  May  15,  1884.  Samuel 
composed  the  oratorio  "  David,"  sym-  composed  the  oratorio  "  Moses,"  three 
phonies,  overtures,  chamber  music;  symphonies,  eight  organ  sonatas, 
played  organ  in  Boston  churches  and  chamber  music;  taught \Cologne  Con- 
at  concerts  of  the  HANDEL  AND  servatory;  became  director  Stuttgart 
HAYDN  SOCIETY,  1859-95;  conducted  Conservatory,  1900;  directed  choral 
Boston  Apollo  Club,  the  Caecilia,  the  societies.  B.  Feb.  22,  1840,  Rotter- 
Haydn  and  Handel  Society,  1895-97;  dam;  son  of  SAMUEL;  add.  Stutt- 
joint  director  with  Carl  Zerrahn  at  gart.  Daniel  composed  the  opera 
Boston  Jubilee;  debut  as  concert  "De  val  van  Kuilenburg,"  two  sym- 
pianist,  Boston,  1852;  pupil  of  his  phonies.  Psalm  xxii  for  soli,  chorus, 
father,  a  pianist,  of  F.  G.  Hill,  in  and  piano,  music  to  "  Hernani,"  'ctjUo 
Boston,  later  of  Alfred  Jaell,  during  concerto,  church  music;  played  organ; 
sojourn  in  Germany.  B.  Dec.  28,  1837,  taught  Amsterdam  Conservatory;  be- 
Salem,  Mass;  add.  Boston.  Mar-  came  director,  1895;  directed  choral 
garet  Ruthven  composed  "Totila,"  societies.  B.  July  11,  1841;  son  of 
"  Witichis,"  and  a  dramatic  overture,  SAMUEL,  SR. ;  add.  Amsterdam. 
"  Sappho's  Prayer,"  for  con.  with  or-  Langhans  (Friedrich  Wilhelm) 
chestra;  "  Armida,"  for  sop.  with  or-  composed  a,  violin  sonata,  prize  string 
chestra;  "Phoebus,"  for  soli,  orches-  quartet,  a  symphony;  wrote  a  con- 
tra, and  chorus,  string  quartet,  songs,  tinuation  of  Ambros's  history,  other 
violin,  and  piano  pieces;  pupil  of  her  books,  criticism;  concertmeister  at 
father,  DR.  B.  J.,  of  Louis  Schmidt,  Dusseldorf;  taught  at  KuUah  and 
Dreschler,  and  Abel  for  violin;  Vic-  Scharwenka  conservatories,  Berlin; 
tor  Gluth  (Munich)  and  George  W.  pupil  of  Leipsic  Conservatory,  and  in 
Chadwick  (Boston)  for  composition  early  life  violinist,  Gewandhaus  Gr- 
and orchestration.  B.  Nov.  27,  1867,  chestra.  B.  Sept.  21,  1832,  Hamburg; 
Boston;    add.  Boston.  d.  June  9,  1892,  Berlin. 

Lang  (Josephine)  composed  songs ;  Langsam.     Crer.     Slow;    adagio, 

was  greatly  admired  by  Mendelssohn.  Langshaw  (John)  became  organist 

B.  Mar.   14,  1815,  Munich;    m.  Prof.  Lancaster,  Eng.,  parish  church,  1772; 

C.  R.  Kdstlin  of  TUbingen,  1842;  d.  made  barrel  organs  for  J.  C.  Smith. 
Dec.  2,  1880,  Tubingen.  D.   1798,  Lancaster.     John  composed 

Lang    (Begina    Hitzelberg)    be-  hymns,  chants,  piano  concertos,  songs, 

came  court  singer  at  Munich.     Bee-  organ    music;    succeeded    his    father, 

thoven's   second  version  of   the  song  JOHN,  as  organist  at  Lancaster.    B. 

"  An  die  Geliebte  "  was  written  in  her  1763,  London;    d.   Lancaster, 

album  during  a  visit  to  Vienna.     B.  Language  or  Languid.     Obstruc- 

1786,  Wtirzburg;    m.  Theobald  Lang,  tion  placed  above  the  foot  of  an  organ 

a  violinist;    d.  Munich,  flue  pipe  to  direct  the  wind  current. 


LANGTTE3IENTE 


319 


LABYNX 


Iianguemente.  It.  Langoish- 
ingly. 

Languendo  or  Iiang^eiite.  It. 
Languishing. 

IJanguettes.  Pr.  Vibrating 
tongues  in  organ  or  harmonium  reed 
pipes ;  key  or  valve  of  wind  instrument. 

Lanier  (Nicholas)  composed  music 
for  Ben  Jonson's  masques  "  Lovers 
Made  Men,"  1617,  and  "The  Vision 
of  Delight";  songs  by  Herrick;  Mas- 
ter of  Musidc  to  Charles  I  of  England 
and  first  "  Marshal  of  the  Corporation 
of  Music";  lost  his  appointments  dur- 
ing the  Civil  War  but  regained  them 
on  the  Restoration.  Lanier,  or  as  the 
name  is  variously  spelled,  Laniere, 
Laneir,  Lanyer,  Laneer,  Laneare,  was 
a  singer  and  an  authority  on  paintings, 
as  well  as  a  composer.  From  1625  to 
1628  he  was  in  Italy  collecting  paint- 
ings for  his  royal  master,  Charles  I. 
B.  1588;  son  of  JOHN;  d.  1666. 
Another  musician  known  as  ITlcliolas, 
and  cousin  to  the  subject  of  the 
above  sketch,  was  likewise  attached 
to  the  English  court.  B.  1568;  d. 
London,  1646.  JoliiL  played  sackbut 
at  the  English  court,  1565-1605,  and 
founded  a  large  family  of  musicians, 
of  whom  Nicholas  was  one.  Another 
John  was  musician  to  Queen  Eliza- 
beth, 1581.  D.  1612.  The  first  of  the 
family  in  England  would  seem  to  have 
been  John,  a  native  of  Kouen,  who 
died  in  London,   1572. 

Lanner  (Joseph  Eranz  Earl)' 
composed  waltzes,  landler,  marches, 
polkas,  and  quadrilles,  the  Op.  No. 
reaching  208;  conducted  at  the  Vi- 
enna Redoutensaal  and  court  balls  al- 
ternately with  Strauss,  with  whom  he 
had  founded  a  string  quartet.  Lanner 
was  self-taught,  but  possessed  gifts 
of  melody  and  rhythm  Vhich  brought 
him  immense  popularity  in  Vienna 
and  provincial  capitals,  and  won  his 
appointment  as  chapelmaster  of  the 
2d  Burger  Regiment.  B.  April  11, 
1801,  near  Vienna;  d.  April  14,  1843, 
Vienna.  August  composed  and  di- 
rected dance  music.  B.  Vienna,  1834; 
son  of  J.  F.  K.;  d.  Sept.  27,  1855. 
Eatharlna  composed  ballets,  ar- 
ranged and  managed  ballets  in  Ham- 
burg, Paris,  and  at  the  London  Italian 


Opera,  later  at  the  Empire  Theatre, 
London.  B.  1831,  Vienna.  Add. 
London. 

Lantum.  Large  reed  instrument 
having  a  rotary  bellows  and  button 
keyboard   like   an   accordion. 

Lapicida  (Erasmus)  composed 
three  motets,  lamentations,  German 
songs;  wrote  on  theory;  16th  century. 

Laporte  (Pierre  Frangois)  man- 
aged the  King's  Theatre,  London, 
1828-41,  introducing  many  new  singers 
and  operas  to  the  British  public;  was 
a  gifted  comedian,  and  in  early  life 
member  of  the  Drury  Lane  stock  com- 
pany, after  having  won  success  on  the 
French  stage.  D.  Sept.  25,  1841,  near 
Paris. 

Largamente.  It.  Slowly,  freely, 
widely. 

Large.  In  obsolete  notation  a  note 
with  the  value  of  two  LONGS. 

Largement.     Fr.     Largamente. 

Largetto.  It.  Broadly,  but  not  so 
slow  as  Largo. 

Largo.  /*.  In  slow,  dignified, 
broad  style. 

Largo  Assai.    /*.    Quite  slow. 

Largo  di  IVEoIto.    /*.    Very  slow. 

Largo  ma  Non  Troppo.  It.  Slow 
but  not  too  slow. 

Larigot.  Fr.  Flageolet;  organ 
stop  of  16-inch  pitch. 

Laroche  (Herman  Augustovich) 
wrote  music  criticism;  taught  in 
Moscow  Conservatory,  where  he  has 
been  a  pupil.  B.  May  25,  1845,  St. 
Petersburg;    add."  St.  Petersburg. 

Laroche  (James)  sang  in  London 
dramatic  entertainments ;  probably 
born  in  France  about  1680. 

La  Bue,  de  (Pierre)  composed  36 
masses,  25  motets,  ten  secular  works; 
musician  to  Charles  V  and  to  Mar- 
garet, Governess  of  the  Netherlands; 
prebend  of  Courtrai  and  Namur.  B. 
Picardy  about  1450;  d.  Nov.  20,  1518, 
Courtrai. 

Laryngoscope.  An  instrument  con- 
sisting of  an  arrangement  of  double 
mirrors  for  studying  the  larynx  was 
perfected  in  1854  by  Manuel  GARCIA, 
the  celebrated  singing  master. 

Larynx.  Organ  by  which  the 
sounds  of  the  human  voice  are  pro- 
duced.   Its  location  is  marked  by  the 


I^SSALLE 


330 


LASSUS 


"Adam's  Apple,"  and  it  is  situated 
at  the  upper  part  of  the  trachea,  or 
windpipe,  with  which  it  is  coutinuous. 

Iiassalle  (Jean)  sang  bar.  at  the 
Paris  Opera  23  years,  from  1872, 
creating  many  new  rSles,  making  oc- 
casional tours  of  Europe  and  America; 
taught  singing  Paris  Conservatoire 
from  1903;  debut  1869,  at  LiSge,  as 
"St.  Bris."  B.  Lyons,  Dec.  14,  1847; 
add.  Paris. 

Xassen  (Eduard)  composed  the 
operas  "Landgraf  Ludwig's  Braut- 
fahrt,"  "  Frauenlob,"  "  Le  Captif,"  a 
symphony  in  D,  festival  and  Beetho- 
ven overtures,  symphony  in  C,  Te 
Deum,  Feste  Cantata,  incidental  music 
to  the  dramas  "Oedipus,"  "Nibelun- 
gen,"  "  Faust,"  "  Circe,"  and  "  Pan- 
dora"; conducted  opera  at  Weimar 
in  succession  to  Liszt;  pupil  of  the 
Brussels  Conservatory;  prize  in  piano 
playing,  harmony,  composition,  and  in 
1851  the  prix  de  Rome;  Chevalier  of 
the  Order  of  Leopold.  B.  April  13, 
1830,  Copenhagen;  d.  Jan.  15,  1904, 
Weimar. 

Lasserre  (iTules)  composed  for  vio- 
lin and  'cello;  wrote  method  for  'cello; 
played  solo  'cello  at  Pasdeloup  and 
other  concerts;  prize  pupil  Paris  Con- 
servatoire. B.  July  29,  1838,  Tarbes; 
add.  Tarbes. 

Lassus  (Orlandus)  composed  51 
masses,  about  1200  motets  and  con- 
tiones,  370  chansons,  250  madrigals, 
in  all  more  than  2^00  works,  a  com- 
plete edition  of  which  was  undertaken 
in  1894  by  Breitkopf  &  Hartel;  was 
the  last  great  composer  of  the  early 
Netherland  school,  ranking  with  Pal- 
estrina  (at  least  with  his  Penitential 
Psalms),  but  unlike  the  great  Italian 
master,  enjoying  during  a  long  life 
unusual  honours  and  wealth.  Born 
at  Mons,  Hainault,  Orlandus  became  a 
chorister  in  the  Church  of  St.  Nicho- 
las, and  it  recorded  that  he  was  thrice 
stolen  from  school  because  of  the 
beauty  of  his  voice,  the  third  time 
electing  to  remain  with  his  captor, 
Ferdinand  Gonzague,  then  command- 
ing the  imperial  army  at  Dizier. 
When  Gronzague  became  Viceroy  of 
Sicily  he  took  Orlandus  with  him,  and 
later  to  Milan.    There  the  boy's  voice 


broke,  but  under  the  patronage  of 
various  Italian  nobles  he  visited 
Naples  and  Rome,  in  the  latter  city 
becoming  director  of  the  famous  choir 
of  St.  John  Lateran.  In  1554  he  vis- 
ited England,  then  settled  in  Antwerp, 
but  in  1556  became  director  of  cham- 
ber music  to  Albert  V,  Duke  of  Ba- 
varia, a  prince  noted  for  his  love  of 
the  arts,  and  the  founder  of  the  royal 
library  at  Munich.  In  1562  he  be- 
came chapelmaster  to  the  Duke,  and 
continued  at  Munich,  with  occasional 
visits  abroad,  notably  to  the  court  of 
Charles  IX  of  France,  and  through 
Europe,  in  search  of  singers  and  in- 
strumentalists. In  1570  Orlandus, 
already  married  to  a  lady  of  the  ducal 
court,  was  ennobled  by  the  emperor, 
and  later  was  made  Knight  of  the 
Golden  Spur  by  the  Pope.  Orlandus 
was  continued  in  office  by  Duke  Wil- 
liam, son  and  successor  to  Albert, 
until  1587,  when  he  was  retired,  but 
at  the  same  time  his  sons  Ferdinand 
and  Rudolph  were  made  singer  and 
organist  respectively  in  the  ducal 
chapel.  Afterwards  Orlandus  resumed 
his  post  of  chapelmaster  for  a  time, 
but  in  1589  his  career  as  a  composer 
closed  with  the  publication  of  six 
masses,  including  a  famous  "  Missa 
pro  defunctis."  Early  biographies  of 
Orlandus  leave  the  date  of  his  birth 
in  doubt,  although  that  generally  ac- 
cepted is  1520.  The  name  is  variously 
spelled  Orlandus  de  Lasso,  Orlande  de 
Lasso,  Lassusius,  and  Orlando  di 
Lasso.  It  was  originally  Roland  De- 
lattre,  but  was  changed,  according  to 
Vinchant,  when  the  composer's  father 
was  condemned  for  counterfeiting,  a 
bit  of  scandal  now  believed  to  have 
been  false.  He  died  in  Munich,  Jime 
14,  1594.  Ferdinand  composed  four 
Magnificats,  became  chapelmaster  at 
Munich.  Son  of  ORLANDUS;  d. 
Aug.  27,  1609.  Rudolph  played  or- 
gan; composed,  edited  works  of  Or- 
landus with  his  brother  FERDINAND. 
D.  1625,  Munich.  Ernst  and  Jean 
likewise  became  musicians.  Sons  of 
ORLANDUS.  Ferdinand  became 
chapelmaster  to  Maximilian  I,  Duke 
of  Bavaria;  composed.  Son  of  FER- 
DINAND;   d.  1636, 


LAST    JUDGMENT 


331 


LAVIONAC 


Last  Judgment.     Ludwig  Spohr's  Laudes.     L.     A   division   of   the 

oratorio  "Die  Letzten  Dinge,"  so  caUed  HORAE    CANONICAE    immediately 

in  the  English  version,  was  first  per-  following   Matins, 

formed  at  the  Norwich  Festival,  1830.  Laudl  Spirituali.    Devotional  mu- 

The    original    work    was    first    sung  sic    to    Italian    poems    sung    in    the 

Mar.  25,  1826,  in  the  Lutheran  Church  churches   of   Florence,   later  through 

at  Cassel.  Italy  by  the  Laudisti,  confraternities 

Last  Kose  of  Summer.  Thomas  organized  for  that  purpose.  They 
Moore's  song  appeared  Dec,  1813,  in  were  employed  by  St.  Philip  Neri 
the  fifth  issue  of  his  Irish  Melodies,  in  order  to  make  the  services  held 
and  sprang  into  instant  favour.  The  in  his  oratory  popular,  and  are  re- 
verses were  adapted  to  the  tune  "  The  garded  as  the  germ  of  the  modern 
Groves  of  Blarney,"  the  work  of  an  ORATORIO, 
unknown  composer.  Lauf.    Qer.    Peg-box;   roulade,  run 

Lates  (Jotaii  James)  composed  for  or  division, 

and  played  violin  at  Oxford  Concerts.  Laufenberg,     von     (Helnrl(^) 

D.   1777,  Oxford.     Charles  composed  adapted  secular  tunes  to  German  sa- 

piano  sonatas;    played  piano  and  or-  cred  text;   poet  and  churchman;   dean 

gan.    Son  of  JOHN  JAMES;   d.  about  of  Zofingen,  1434;   joined  a  Strasburg 

1810.  monastery,  1445. 

Latilla   (Gaetano)   composed  "Li  Lauftanz.     Qer.    Coranto. 

mariti   a   forza,"   "  Orazio,"   "  Antig-  Laut.     Qer.    Loud, 

ono,"  and  in  all  36  operas;   six  string  Laute.     Qer.     LUTE, 

quartets,  church  music,   songs;    con-  Lautenclavicymbel.  JohannSebas- 

ducted  church  music.    B.  1713,  Bari;  tian  Bach's  "Lute  Harpsichord,"  in- 

d.  1789,  Naples.  vented  1740,  so  perfectly  imitated  the 

Latrobe    (Bev.    Christian   Igna-  lute  as  to  deceive  a  lutenist.    It  was 

tius)  compiled  "  Selection  of  Sacred  played  like  the  harpsichord. 

Music,"   6  vols.,    1806-25;     composed  Lautenist.     Qer.    Lutenist. 

church  music,  three  sonatas;    edited  Lauterbach   (Johann  Christoph) 

first  English  music  of  the  Moravian  served  as  concertmeister  in  the  court 

Church,  of  which  he  was  a  minister,  orchestras  and  violin  teacher  in  the 

B.  Feb.  12,  1757,  Fulneck,  Leeds,  Eng.;  conservatories   of  Munich   and  Dres- 

d.  May  6,  1836,  Fairfield,  near  Man-  den;    toured    Europe    as    violin    vir- 

cbester.      Rev.    John    Antes    wrote  tuoso;    prize  pupil  of  De  B€riot  and 

"  The  Music  of  the  Church  considered  F6tis   in   Brussels    Conservatory.     B. 

in    its    various    branches,    Congrega-  July   24,    1832,   Culmbach,   Bavaria; 

tional  and  Choral,"   1831,  containing  add.  Munich, 

valuable    selections    in    vocal    score;  Lavenu   (Lewis)   published  music 


"Instructions  of  Chenaniah";    hon- 
orary   canon    of    Carlisle.      B.    1799, 
London;    son  of  Rev.  C.  I.;    d.  Nov. 
19,  1878,  Gloucester. 
Laub   (Ferdinand)  became  cham- 


in  London,  1796-1809. 

Lavenu  (Louis  Henry)  composed 
the  opera  "  Loretta,"  Drury  Lane, 
Nov.  9,  1846,  piano  pieces,  and  songs; 
played    'cello;     published    music    in 


ber  violinist  and  concertmeister  of  the  London  with  his  stepfather,  Nicholas 

Berlin  court  band;   taUght  Stem  Con-  Mori;    directed  music,  Sydney  Thea- 

servatory;     founded    string    quartet;  tre.     B.    1818,   London;     d.   Aug.    1, 

pupil  of  Prague  Conservatory,  under  1859,  Sydney,  Australia. 
Mildner.     B.  Prague,  Jan.  19,  1832;       Lavignac   (Alexander  Jean  Al- 

d.  Mar.  17,  1875,  Gries  in  the  Tyrol,  bert)    wrote   "'Le   Voyage   artistique 

Laud.    8p.    Lute.  a    Bayreuth,"   known   in   English   as 

Lauda    Sion,     Salvatorem.      Se-  "  The  Music  Drama  of  Richard  Wag- 

quence,writtenby  St. Thomas  Aquinas,  ner";    composed   for  piano;    taught 

is  sung  on  the  feast  of  Corpus  Christi  theory,  Paris  Conservatoire,  where,  as 

at  Mass  between  the  gradual  apd  the  a  student,  he  received  prizes  in  har- 

Gospel  for  the  day.  mony,    counterpoint,   and   for   piano 

21 


LAVIONE 


333 


LEADIXa   NOTE 


and  organ  playing.    B.  Jan.  22,  1846, 
Paris;    add.  Faria. 

Lavigne  (Antoine  Joseph)  played 
oboe  in  Paris,  London,  Manchester; 
helped  perfect  keying  of  that  instru- 
ment; pupil  Paris  Conservatoire.  B. 
Mar.  23,  1816,  Besangon;  d.  Aug.  1, 
1886,  Manchester. 

Lavoix  (Henri  Iffarie  Erangois) 
wrote  "  Eistoire  de  I'instrumenta- 
tion,"  1878,  and  other  books  on  the 
history  of  music;  became  librarian, 
Bibliotheque  National,  Paris.  B.  April 
26,  1846;  d.  Dec.  17,  1897,  Paris. 

Lawes  (Henry)  composed  the  mu- 
sic for,  and  probably  suggested  that 
Milton  write.  The  Masque  of  Comus" ; 
composed  songs  by  Herrick,  Waller, 
incidental  music  for  plays  by  Cart- 
wright  and  Davenant,  coronation  an- 
them for  Cliarles  II  of  Eng.;  sang 
Eng.  Chapel  Boyal  under  Charles  I 
and  Charles  II;  pupil  of  Coperario 
and  one  of  the  first  song  writers  to 
carefully  adapt  his  melody  to  the 
meaning  of  the  words  to  which  they 
were  to  be  sung.  B.  1595,  Dinton, 
Wiltshire;  d.  Oct.  21,  1662,  London. 
John  became  lay-vicar  of  Westmin- 
ster Abbey;  brother  of  HENRY;  d. 
1654.  William  composed'  the  part 
song  "  Gather  ye  rosebuds  while  ye 
may,"  66  short  pieces  for  viols,  pub- 
lished as  the  "  Royal  Consort " ;  songs, 
psalms,  anthems,  music  for  Shirley's 
"Triumph  of  Peace,"  and  Davenant's 
"Triumph  of  the  Prince  d'Amour"; 
sang  in  Eng.  Chapel  Eoyal;  joined 
Royalist  Army.  Brother  of  HENRY; 
killed  by  a  shell  at  the  siege  of  Ches- 
ter, 1645.  Thomas  became  vicar- 
choral,  Salisbury  Cathedral;  was 
probably  father  of  Lewis,  John,  and 
William.  D.  Nov.  7,  1640. 
'  Iiawrowska  (Eliazabeth  Andre- 
jevna)  sang  mez.  sop.  in  St.  Peters- 
burg and  London  opera,  and  with  suc- 
cess in  concert;  pupil  of  the  Eliza- 
beth Institute  and  St.  Petersburg  Con- 
servatory. B.  Oct.  12,  1845,  Kaschin, 
Twer,  Russia;  m.  Prince  Zeretelew, 
Odessa,  July  31,  1871;  add.  St. 
Petersburg. 

Ijay.     Song,  ballad. 

Lay  Vicar.  Singer  in  Cathedral 
Choir,  not  in  orders. 


LayoUe,  de  (Franciscus)  composed 
motets  and  masses;  taught  music  to 
Benvenuto  Cellini,  and  later  to  his 
daughter;  edited  publications  for 
Jacques  Modernus,  Lyons;  b.  Lyons; 
settled  in  Florence  about   1540. 

Lays  (Erangois)  sang  in  Paris 
Opfira;  taught  in  Paris  Conserva- 
toire; principal  singer  in  the  Chapel 
of  Napoleon,  1801,  until  his  fall.  B. 
La  Barthe  de  Nestfis,  Gaseony,  Feb. 
14,  1758;  d.  Mar.  30,  1831,  Ingrande, 
near  Angers. 

Lazarus  (Henry)  played  clarinet 
at  the  principal  concerts  and  London 
Opera;  taught  Royal  Academy  of 
Music  and  Military  School  of  Music. 
B.  Jan.  1,  1815,  London;  d.  Mar.  6, 
1895,  London. 

Lazzari  (Sylvio)  composed  the 
pantomime  "  Lulu,"  1887 ;  the  musi- 
cal play  "Armor,"  Prague,  1898; 
"  L'Ensorcele,"  Paris,  1903;  the  sym- 
phonic poem  "  Ophelie,"  a  "  Marche 
de  Fgte,"  "Impressions,"  "Effet  de 
,Nuit"  for  orchestra,  fantasia  for  vio- 
lin and  orchestra,  concert  piece  for 
piano  and  orchestra,  sonata  for  violin 
and  piano,  string  quartet,  songs;  pupil 
of  the  Paris  Conservatoire  and  of 
C6sar  Pranck.  B.  Jan.  1,  1858,  Bot- 
zen,  Tyrol;-   add.  Paris. 

Lazzarini  (Gustavo)  composed  t^o 
volumes  of  Italian  airs,  a  Pastoral; 
sang  ten.;  debut  in  Lucca,  1789,  later 
in  other  Italian  citieis  and  in  London. 
B.  1765,  Padua  or  Verona;  d.  after 
1802. 

Leach  (James)  composed  psalm 
tunes  which  appeared  in  early  Amer- 
ican collections;  published  "A  New 
Sett  of  Hymn  and  Psalm  Tunes," 
London,  1789,  a  second  set  five  years 
later;  sang  ten.  and  taught.  B. 
Wardle,  Lancashire,  Eng.,  1762;  d. 
Feb.  8,  1798,  near  Manchester. 

Lead.  Announcement  of  subject 
or  theme  which  later  appears  in  other 
parts;  sign  giving  the  cue  or  entry 
of  the  various  parts. 
.  Leader.  Concertmeister;  first  vio- 
lin;   chef  d'attaque. 

Leading  ITote.  Seventh  degree  in 
an  ascending  major  scale,  so  called 
because  it  suggests  and  leads  to  the 
Tonic. 


LEBEBT 


323 


liECOCQ 


liebert  (Sigmund)  founded  the 
Stuttgart  Conservatory,  1856;  edited 
the  "  Grosae  Pianoforte  Schule  "  with 
Stark;  pupil  of  Tomaschek  and  Weber 
at  Prague.  B.  Dee.  12,  1822,  Ludwigs- 
burg,  Wurtemberg;  d.  Dec.  8,  1884, 
Stuttgart. 

Lebhaft.     Ger..   Vivace  or  lively. 

Le  Borne  (Eernand)  composed 
the  pastoral  drama  "  Daphnis  et 
Chloe,"  three-act  symphonic  legend 
"  Hedda,"  the  lyric  drama  "  Mudarra," 
the  lyric  drama  "  Les  Girondins," 
Lyons,  1905,  the  three-act  opera  "  Le 
Maltre,"  "Scenes  de  Ballet,"  "Suite 
Intime,"  "  Symphonic  dramatique," 
"  Aquarelles,"  "  Temps  de  Guerre," 
"Fgte  Bretonne,"  "Marche  solennelle," 
"  Ouverture  guerriere,"  "  Ouverture 
symphonique,"  a  symphonie-concerto, 
piano,  violin,  and  orchestra,  mass  in 

A,  chamber  music,  which  won  the 
Chartier  prize,  1901;  wrote  criticisms 
for  "  Monde  artiste  " ;  pupil  of  Mas- 
senet, Saint  Saens,  and  C6sar  Franck. 

B.  Belgium,  Mar.  10, 1862 ;    add.  Paris. 
Lebrun  (Erancesca)  sang  sop.  in 

opera;  debut  at  16,  Mannheim,  later 
in  Milan,  London,  Venice,  Naples, 
Munich,  and  Berlin.  Her  voice  ranged 
to  f"  and  is  said  to  have  been  beau- 
tiful in  quality.  She  composed  trios 
for  violin,  'cello,  and  piano,  sonatas 
for  violin  and  piano.  B.  1756,  Mann- 
heim; daughter  of  the  'cellist  Danzi; 
m.  Lebrun,  the  oboist;  d.  May  14, 
1791.  Sophie  composed  piano  music, 
played  piano  in  London  concerts.  B. 
Jime  20,  1781,  London;  daughter  of 
FRANCESCA;  m.  Dulcken,  the  Mu- 
nich piano  maker,  April  18,  1799. 
Bosine  played  piano;  sang;  gave  up 
music  for  comedy  on  marrying  the 
actor  Stenzsch,  1801.  B.  April  13, 
1785,  Munich;  daughter  of  FRAN- 
OESCA. 

Lechner  (Leon  bard)  composed 
church  music,  German  songs;  edited 
collections,  including  some  works  of 
Orlandua  Lassus,  under  whom  he  had 
been  chorister  in  the  ducal  chapel  at 
Munich ;  chapelmaster  at  Wurtemberg. 
B.  1550,  Etsehthal  in  the  Tyrol;  d. 
1604,  Wurtemberg. 

Leclair  (Jean  Marie)  composed 
sonatas  for  one  and  two  violins,  the 


opera  "  Scylla  et  Glaucus,"  ballet 
music;  played  violin  at  the  Paris 
Op€ra  and  Concerts  Spirituals;  in 
early  life  dancer  and  ballet  master. 
B.  May  10,  1697,  Paris;  assassinated, 
Paris,  Oct.  22,  1764.  Antoine  Bemy 
played  violin.  Brother  of  JEAN 
MARIE. 

Lecocq  (Aexandre  Charles)  com- 
posed "Giroflg  Girofla,"  "La  Fille 
de  Madame  Angot,"  and  other 
highly  popular  operettas,  songs,  a 
collection  of  sacred  music  for  female 
voices  called  "  La  Chapelle  au  Con- 
vent" (with  Besozzi) ;  dominated  the 
French  stage  in  his  own  peculiar  prov- 
ince for  a  generation,  but  failed  to 
obtain  a  hearing  for  more  serious  work. 
While  a  pupil  at  the  Paris  Conserva- 
toire, 1849-54,  Lecocq  won  prizes  for 
harmony,  fugue,  and  an  excellent  repu- 
tation as  organist.  "  Le  Docteur  Mir- 
acle," composed  with  Bizet,  won  the 
competition  proposed  by  Offenbach, 
and  was  produced  1857  at  the  Bouffes 
Parisiens.  "  Huis  Clos,"  "  Le  Baiser 
a  la  Porte,"  "  Liline  et  Valentin,"  "Les 
Ondines  de  Champagne,"  "Le  Myoso- 
tis,"  "  Le  Cabaret  de  Ramponneau " 
were  followed  by  his  first  successful 
piece,  "Fleur  de  The,"  1868.  Then 
came  "  L' Amour  et  son  carquois," 
"  Gandolfo,"  "  Le  Rajah  de  Mysore," 
"  Le  Beau  Dninois,"  "  Le  Barbier  de 
Trouville,"  "  Le  Testament  de  M.  de 
Crac,"  "  Sauvons  la  caisse,"  "  Les  Cent 
Vierges,"  and  "  La  Fille  de  Madame 
Angot,"  Brussels,  1872,  which  ran  500 
consecutive  nights ;  "  Les  Prfis  St.  Ger- 
vais,"  "  Giroflg  Girofla,"  which  proved 
equally  popular  in  English;  "Les 
Jumeaux  de  Bergame,"  "  Le  Pompon," 
"La  petite  Mari6e,"  "Kosiki,"  "La 
Marjolaine,"  "Le  petit  Due,"  "Oa- 
margo,"  "La  jolie  Persang,"  "La  petite 
Mademoiselle,"  "Le  Grand  Casimir," 
"  Le  Marquis  de  Windsor,"  "  La  Rous- 
sotte,"  "Le  Jour  et  la  Nuit,"  "Le 
Coeur  et  la  Main,"  "  La  Princesse  des 
Canaries,"  "  L'Oiseau  bleu,"  "  Les 
Grenadiers  de  Monte-Cornette,"  "Ali- 
Baba,"  "  La  Voli6re,"  "  L'Egyptienne," 
"Nob  bon  Chasseurs,"  "Ruse  d'Amor," 
"  Barbe-bleue,"  "Le  Cygne,'  Opgra 
Comique,  1899;  "La  Belle  au  Bois 
Dormant,"  1900,  "  Plutus,"  an  op6ra 


LSgOK 


324 


LEONO,   COL 


comique,   1886,  completes  the  list  of  "  Les  Recruteurs,"  an  "0  Salutaris," 

his  dramatic  works.    It  failed,  and  he  oftertories,   a   cantique,  masses,   sym- 

thereafter  contented  himself  with  the  phonies,  chamber  music ;  played  organ 

lighter    forms.     In    1874    he   became  at  St.  Roch's,  the  Madeleine,  and  St. 


Chevalier  of  the  Legion  of  Honor.    B, 
June  3,  1832,  Paris;    add.  Paris. 
Iiegon.    Fr.    Study,  lesson. 


Sulpice's,  Paris;  Chevalier  of  the  Le- 
gion of  Honor;  pupil  of  the  Paris 
Conservatoire.      B.    Nov.     13,    1817, 


Le     Couppey     (Felix)     composed    Paris;    d.  Dec.  31,  1869,  Paris, 
piano   etudes;     taught  harmony   and       Lefebvre  (Charles  Eduard)  com- 
piano,  Paris  Conservatoire,  where  he    posed    the    operas    "Lucrece,"    "Le 


had  been  a  pupil.    B.  April  14,  1811, 
Paris;    d.  July  5,  1887,  Paris, 


Trgsor,"    "Zaire,"    "  Djelma,"    Paris 
Opera,   May   25,    1904;    "  Singoalla," 


Ledger   or   Leger   Lines   are   the    the    lyric   poem   "  Eloa,"    the   legend 


lines  added  to  the  stave  to  carry  notes 
either  above  or  below  it. 


Melka  " ;   "  Sainte  Cecile  "  for  soli, 
chorus,  and  orchestra ;  "  La  Messe  du 


L^diic  (Alphonse)  published  music  FantOme,"  voice  and  orchestra;   cham- 

in  Paris,  1868-92,  succeeding  to  the  ber  music,  a  symphony  in  D,  Ouver- 

business    established    by    his    father,  ture   dramatique,   the   oratorio   "  Ju- 

1841.    On  his  death  the  business  was  dith,"   motets,   Psalm  xxiii;     taught 

continued  by  his  widow,  and  in  1908  instrumental  ensemble,  Paris  Conserva- 


was   managed   by   E.   Leduc   and   P. 
Bertrand. 


toire,  1895,  where  he  had  won  the  prix 
de  Rome  with  his  cantata,  "  Le  Juge- 


Lee  (Oeorge  Alexander)  composed  ment  de  Dieu."     B.   June   19,   1843, 

"  Come    where    the    aspens    quiver "  Paris ;    add.   Paris, 
and  other  ballads,  arranged  dramatic       Leffler  (Adam)  sang  bass  in  Eng- 

pieces;   managed  operas  and  oratorios  lish  operas  and  concerts;    chorister  in 

at  Drury  Lane  and  Covent  Garden,  boyhood  at  Westminster  Abbey,  where 

London;   sang  ten. ;   son  of  Harry  Lee,  he  subsequently  became  a  deputy.    B, 


the  prize  fighter.  B.  1802,  London; 
d.  1851,  London. 

Lee  (Samuel)  published  music  in 
London;  conducted;  played  violin; 
was  Handel's  copyist.  B.  Ireland;  d. 
Feb.  21,  1776,  London. 

Leeds  Festival  has  been  held  tri- 


1808,  London;  d.  Mar.  28,  1857, 
London. 

Legabile  or  Legando.  It.  Tied; 
smooth,  connected. 

Legatissimo.  /*.  Very  smooth, 
connected,  close. 

Legato.      It.      "Bound."      To    be 


ennially  since  1874,  and  has  introduced    sung   or   played   in   a   smooth,   even. 


many  new  works  by  English  com- 
posers under  most  favourable  auspices. 
The  first  festival  was  held  1858,  Stern- 
dale  Bennett  conducting,  but  an  in- 
terregnum followed,  although  $10,000 


had  been  earned  for  the  charities  of    idly,  lightly. 


connected    manner,    as     opposed    to 
staccato, 

Legatura.   It.   Bind,  tie,  brace,  slur, 

Leger.     LEDGER, 

Legerem.ent.    Fr.    Gracefully,  rap- 


the  town.  Sir  Michael  Costa  con- 
ducted the  second  and  third  festivals. 
Sir  Arthur  Sullivan  was  the  conductor 


Legerete. 
ity. 
Leggiadramente, 


from  1880  to  1898,  since  which  time  fully,  beautifully. 

the  post  has  been  filled  by  Sir  C.  V. 

Stanford. 

Leeves  (Rev.  William)  composed 

"  Auld  Robin  Gray,"  to  words  by  Lady  swiftly, 

Anne  Barnard;   "Six  Sacred  Airs";  Leggiere.     It. 

played    'cello;    rector    of    Wrington,  idly. 

Somerset.    B.  June  11,  1748,  Kensing-  Leggiero.     It. 

ton;    d.  May  28,  1828,  Wrington.  Legglerucolo. 

Lefebure-Wely  (Louis  James  Al-  Legno,  coL    It. 


Fr.     Lightness;  rapid- 
It.       Delight 


Leggiadro.     /*.     Beautiful,  hand 

some. 

Leggieramente.     It.     Lightly, 


Very  lightly,  rap 

Lightly. 
It.    Rather  lightly. 

,  _-„__,.„.    ...    "  With  the  wood." 

fred)    composed   the    opera   comique.    In  music   for  viols   directs   that  the 


LEGBiENZI 


325 


LEIFSIC 


strings  are  to  be  struck  with  the  wand 
of  the  bow. 

Legrenzi  (Giovaimi)  composed 
"  Achille  in  Sciro,"  1664,  "  I  due  Ce- 
sari,"  1683j  and  in  all  17  operas, 
motets,  masses,  psalms,  church  csua.- 
tatas;  chapelmaster  at  St.  Mark's, 
Venice.  B.  about  1625,  Clusone  near 
Bergamo;    d.  July  26,  1690,  Venice. 

Le  Eeurteur  (Guillaumie)  com- 
posed church  music  and  chansons; 
canon  of  St.  Martin's,  Tours,  16th 
century. 

Lehmanix  (Elizabetta  Nina  ItTary 
Frederika)  composed  the  song  cycle 
"  In  a  Persian  Garden,"  the  musical 
comedy  "  Sergeant  Brue,"  to  book  by 
Owen  Hall;  "  In  Memoriam"  to  Ten- 
nyson's words ;  the  song  cycles  "  The 
Daisy  Chain,"  "  More  Daisy  Chains," 
"  Songs  of  Love  and  Spring,"  ballads 
for  voice  and  orchestra;  sang  at  the 
principal  English  concerts,  1885-94, 
when  she  retired  on  her  marriage  to 
Herbert  Bedford;  pupil  of  her  mother 
(Amelia  Chambers),  Randegger,  and 
of  Raunkilde,  Freudenberg,  and  Mac- 
Cunn  in  composition.  B.  London,  July 
11,  1862;   add.  London. 

Ijehmanii  (liili)  sang  sop.  in  opera, 
debut  at  Prague  as  the  First  Boy  in 
"  Zauberflote,"  at  Dantzic,  1868,  Bay- 
reuth,  1876,  later  at  Covent  Garden, 
London,  and  in  German  opera  in  the 
United  States,  1885-90.  Mme.  Leh- 
mann's  chief  rSles  were  Sieglinde,  Or- 
trud,  Isolde,  but  she  likewise  sang 
Violetta,  Norma,  and  Donna  Anna,  ap- 
pearing in  the  latter  rSle  in  Paris, 
1903.  B.  Wurzberg,  May  15,  1848;  m. 
Kalisch,  the  singer;    add.  Berlin. 

Leicht.     Ger.    Light,  easy. 

Xieidenschaftlicli.  Oer.  Passion- 
ate. 

Leigliton  (Sir  William)  composed 
eight  numbers  of  the  "  Teares  or  Lam- 
netacions  of  a  Sorrowfvll  Soule,"  which 
he  published  1614,  contains  45  hymns 
and  psalms  for  four  and  five  voices 
and  instruments  in  tablature,  includ- 
ing compositions  by  Bulle,  Byrd,  Cope- 
rario,  and  Orlando  Gibbons;  gentle- 
man pensioner  of  Elizabeth  and  James 
I  of  Eng. ;  probably  knighted  in  re- 
turn for  "  Vertue  Triumphant,"  a  poem 
in  honour  of  James  I,  1603. 


Leipsic  is  the  home  o{  the  famous 
THOMASSCHULE,  where  J.  D.  Bach 
was  engaged  as  cantor,  of  the  cele- 
brated GEWANDHAUS  Concerts,  of 
the  publishing  house  of  BREITKOPF 
&  HARTEL,  and  of  musical  activi- 
ties in  many  directions.  The  Ijeip- 
sio  Conservatory  was  founded  by 
Mendelssohn,  1843,  with  the  aid  of 
20,000  thalers  bequeathed  by  the  Hof- 
kriegsrath  Blumner  to  the  King  of 
Saxony  for  the  purposes  of  art  and 
science.  The  faculty  consisted  of 
Mendelssohn ;  Hauptmann,  counter- 
point and  harmony;  piano  and  com- 
position, Mendelssohn  and  Schumann; 
violin,  Ferdinand  David;  singing, 
Poglenz;  organ,  Becker.  There  were 
10  scholarships.  Gade,  Plaidy,  Richter, 
and  Brendel  were  afterwards  members 
of  the  faculty.  J.  K.  Paine,  Sir  Arthur 
Sullivan,  and  Otto  Goldschmidt  have 
been'  among  the  most  distinguished 
scholars.  In  1908  the  Conservatory 
still  ranked  with  the  foremost  in 
Northern  Germany,  having  its  head>- 
quarters  in  its  own  handsome  building 
near  the  GEWANDHAUS,  while  its 
affairs  were  managed  by  a  directory 
consisting  of  Justizrat  Dr.  Paiil 
Rontsch,  Dr.  Reinhold  Anschutz,  Dr. 
Bruno  TrSndlin,  Albert  Gruner,  Dr. 
Adolph  Geiber,  Max  Brockhaus,  Dr. 
Alfred  Keil,  and  Baurat  Julius  Zeibig. 
The  faculty  then  consisted  of  the  fol- 
lowing musicians:  piano,  solo,  and 
ensemble  playing,  Beving,  Von  Bose, 
Musikdirektor  Heynsen,  Keller,  Dr. 
Merkel,  Pembaur,  Quasdorf,  Prof. 
Reckendorf,  Ruthardt,  Sehwabe,  Teich- 
muller,  Hofpianist  Wendling,  Frl. 
Lutz-Huszagh;  organ,  Prof.  Homeyer; 
violin  solo  and  ensemble,  Becker,  Bol- 
land.  Prof.  Hermann,  Prof.  Hilf,  Prof. 
Sitt;  viola,  Prof.  Hermann,  Prof.  Sitt; 
'cello  solo  and  ensemble,  Prof.  Klengel, 
Wunsche;  doublebass,  Sehwabe;  flute. 
Barge;  oboe  and  English  horn, 
Tamme;  clarinet,  Heyneck;  bassoon, 
Freitag;  horn,  Rudolph;  trompet, 
Petzold;  trombone,  MuUer;  vocal, 
voice  building,  solo  and  ensemble  sing- 
ing, Lindner,  Noe,  Frau  Baumann, 
Frau  Hedmondt,  Paul,  Musikdirektor 
Heynsen;  harmony,  counterpoint, 
canon,    and    fugue.    Grill,    Heynsen, 


LEISE 


326 


■LEHLOIKE 


Krehl,  Dr.  Merkel,  Paul,  Quasdorf, 
Prof.  Schreck;  composition  and  in- 
strumentation. Prof.  Hofmann,  Krehl, 
Musikdirektor  Reger,  Prof.  Schreck; 
directing,  Prof.  Sitt;  dramatic  action, 
Regisseur  Proft ;  opera,  Kapellmeister 
Porst;  musical  history,  literature,  and 
aesthetics.  Prof.  Dr.  Seidl. 

Leise.     Ger.    Quietly,  piano. 

Leitakkord.  Ger.  Guiding  chord; 
one  which  suggests  resolution. 

IJeiter.     Ger.    The  scale. 

Leitereigene  Akkorde.  Oer. 
Chords  peculiar  to  a  given  key. 

Leiterfremd.  Ger.  Notes  foreign 
to  a  key. 

Iieit-IIIotif.  Ger.  "  Guiding  or 
leading  theme."  In  the  music  of  Rich- 
ard Wagner  and  his  imitators  this 
term  is  applied  to  a  phrase  or  figure 
associated  with  an  idea,  character,  or 
sentiment,  and  recurs  as  often  as  the 
composer  deems  it  necessary  to  bring 
to  remembrance  the  subject  with  which 
it  has  been  thus  associated.  Thus  in 
the  last  part  of  "Goetterdaemmerung" 
practically  every  leit-motif  associated 
with  Siegfried  is  woven  into  the  death 
march.  While  Wagner  carried  the  use 
of  the  device  which  he  called  leit-motif 
to  its  logical  extreme,  it  had  been  pro- 
poimded  before  his  time  by  Berlioz,  as 
the  Idfie  Fixe,  and  is,  indeed,  to  be 
found  in  the  scores  of  many  earlier 
composers. 

Le  Jeune  (Claude)  composed  three- 
part  psalms  published  in  Paris,  1607, 
used  by  the  Calvinists  of  France  and 
Germany  which  "went  through  more 
editions,  perhaps,  than  any  other  musi- 
cal work  since  the  invention  of  print- 
ing" (Bumey) ;  claimed  to  have  been 
the  first  to  have  united  harmony  with 
rhythm;  composed  chansons,  canons, 
magnificat,  fantaisie,  Italian  madri- 
gals, Latin  motets ;  composer  to  Henri 
IV  of  France.  B.  about  1540,  Val- 
enciennes;   d.  about  1600. 

Lekeu  (Quillaume)  composed  a 
symphonic  study  on  "  Hamlet,"  sonata 
in  G  for  violin  and  piano ;  "  Fantaisie 
sur  deux  airs  populaires  angevins," 
string  quartet,  adagio  for  orchestra  in 
C  minor;  trio  for  piano  and  strings; 
pupil  of  the  Vgrviers  Conservatory 
and  later  of  C4sar  Franck,  Vincent 


d'Indy  and  Brussels  Conservatory, 
where  he  won  the  prix  de  Rome  with 
"  Andromede,"  his  scSne  lyrique.  B. 
Jan.  20,  1870,  Heusy  LiSge;  d.  Jan. 
31,  1894,  Angers. 

Le  IVEaistre  (IVEattliaus)  composed 
songs,  Latin  motets,  Lutheran  Church 
music ;  chapelmaster  at  Dresden,  1554. 
B.  Li6ge;    d.  about  1577,  Dresden. 

Lemare  (Edwin  Henry)  played 
organ  at  St.  Margaret's,  Westminster, 
where  his  recitals  won  him  such  celeb- 
rity that  he  was  made  organist  and 
director  of  music  at  Carnegie  Hall, 
Pittsburgh,  1902-4,  when  he  returned 
to  England;  pupil  Royal  Academy  of 
Music,  London.  B.  Sept.  9,  1865, 
Ventnor,  Isle  of  Wight;    add.  London. 

Lsmlin  or  Laemmlein  (Lorenz) 
composed  a  six-part  cuckoo  song  which 
still  survives,  Latin  motets,  and  many 
German  lieder;  chapelmaster  to  the 
Elector  Palatine  at  Heidelberg,  16th 
century. 

Lemmens  (Nicholas  iTacques) 
wrote  the  "  Ecole  d'Orgue  "  used  in  the 
Paris,  Brussels,  and  Madrid  conserva- 
tories, a  method  for  accompanying 
Gregorian  Chant,  published  posthu- 
mously, Ghent,  1886;  composed  offer- 
tories and  sonatas  for  organs;  played 
and  taught  organ  Brussels  Conserva- 
tory, where  he  had  been  a  prize  pupil, 
and  of  A.  Hesse.  B.  Zoerle-Parwys, 
Westerloo,  Jan.  3,  1823;  d.  Jan.  30, 
1881,  Castle  Linterport,  near  Malines. 
IVEme.  Sherrington-Lemmens  sang 
in  London  opera  and  concerts ;  pupil  of 
the  Brussels  Conservatory.  B.  Oct.  4, 
1834,  Preston,  Eng.;  m.  NICHOLAS 
JACQUES. 

Lemoine  (Antoine  Marcel)  played 
viola  at  the  Theatre  de  Monsieur, 
Paris,  and  guitar;  founded  the  pub- 
lishing house  in  Paris.  B.  Nov.  3, 
1763,  Paris;  d.  1817,  Paris.  Henri 
wrote  text-books  on  singing,  harmony, 
and  piano  playing;  pupil  of  the  Paris 
Conservatoire;  succeeded  to  and  en- 
larged the  publishing  business  founded 
by  his  father,  ANTOINE  MARCEL. 
B.  Oct.  21,  1786,  Paris;  d.  May 
18,  1854,  Paris.  Achille  Philibert 
added  engraving  and  printing  plants 
to  the  business  inherited  from  his 
father   HENRI,   and   in    1885    estab- 


LENO 


337 


LEOITOBE 


lished  a  branch  house  in  Brussels.  B. 
1813,  Paris;  d.  Aug.  13,  1895,  Sevres. 
In  1908  the  heads  of  the  house  were 
Henri  and  Leon  the  sons  of  ACHILLE 
PHILIBERT. 

liono.     /(.    Weak,  faint,  pliable. 

Iienpeveu  (Charles  Ferdinand) 
composed  the  operas  "  Le  Florentin," 
Paris  Opgra  Oomique,  1874;  "Vel- 
leda,"  Covent  Garden,  London,  1882; 
taught  Paris  Conservatoire,  where  in 
1865  he  won  the  prix  de  Rome  with 
his  cantata,  "  Renaud  dans  les  jardins 
d'Armide  " ;  Chevalier  of  the  Legion 
of  Honor;  member  of  the  Insti tut.  B. 
Oct.  4,  1840,  Rouen;    add.  Paris. 

Lent.     Fr.    LENTO. 

Lentamente.    It.    Slowly. 

Lentaudo.  It.  Slackening  in 
tempo. 

Lentement.    Fr.    Slowly. 

Lento.  /*.  "  Slow."  Indicates  a 
tempo  between  andante  and  largo. 

Lenton  (Tobn)  composed  overtures 
and  act  tunes  for  "  Venice  Preserved  " 
and  other  dramas ;  wrote  "  The  Useful 
Instructor  on  the  Violin,"  London, 
1702;  composed  songs;  played  in  the 
band  of  William  and  Mary  and  sang, 
Eng.  Chapel  Royal.     D.  after  1718. 

Lenz,  von  (Wilhelm)  wrote  "  Bee- 
thoven et  ses  trois  styles,"  St.  Peters- 
burg, 1852;  "Beethoven:  Eine  Kunst- 
studie,"  6  vols.,  1860 ;  papers  on  Liszt, 
Chopin,  Henselt,  etc.  B.  1808,  St. 
Petersburg;  d.  Jan.  31,  1883,  St. 
Petersburg. 

Leo,  de  (Lionardo  Oronzo  Salva- 
tore)  composed  a  celebrated  eight- 
part  a  capella  Miserere,  a  Dixit  Dom- 
inus  in  C,  a  ten-part  Dixit  Dominus 
with  orchestra,  in  D;  mass  in  D  major 
for  five  voices  and  orchestra;  "Demo- 
foonte,"  1735,  Naples;  "La  Finta 
Frascatana,"  and  in  all  60  operas,  of 
which  those  on  comic  subjects  were 
highly  successful;  organist  of  the 
Naples  Cathedral  and  royal  chapel- 
master;  pupil  of  the  Naples  Con- 
servatory and  teacher  of  Jommelli  and 
Piccini.  B.  Aug.  5,  1694,  near  Brin- 
disi;    d.  Oct.  31,  1744,  Naples. 

Leonard  (Hubert)  played  violin, 
being  first  to  perform  the  Mendelssohn 
Concerto,  Berlin,  1844  (under  Men- 
delssohn's direction) ;  taught  at  Brus- 


sels Conservatory  in  succession  to  De 
Beriot,  later  in  Paris;  pupil  of  Habe- 
neck,  Paris  Conservatoire.  B.  April 
7,  1819,  Bellaire,  Belgium;  d.  May  6, 
1890,  Paris. 

Leoncavallo  (Buggiero)  composed 
the  operas  "PAGLIACCI,"  "  Zaza," 
"La  Boheme,"  "Der  Roland"  to 
text  founded  on  Alexis's  romance,  "Der 
Roland  von  Berlin,"  for  Kaiser  Wil- 
helm II,  Berlin  Royal  Opera,  Dec.  13, 
1904;  "La  Tosca,"  "Trilby,"  and 
"  Tommaso  Chatterton  " ;  planned  a 
trilogy  on  Italian  history  called  Cre- 
pusculum,"  of  which  the  first  opera 
"Medici"  has  been  well  received  in 
Germany  although  it  failed  in  Italy. 
Pupil  of  the  Naples  Conservatory, 
Leoncavallo's  first  work,  "  Chatter- 
ton,"  was  completed  before  he  had  at- 
tained his  majority,  but  the  impresario 
having  absconded,  the  young  composer 
was  compelled  to  teach  singing  and 
made  tours  of  Europe  as  a  pianist,  in 
the  course  of  which  he  is  said  to  have 
received  encouragement  from  Wagner. 
Like  Wagner,  he  has  been  invariably 
the  author  of  his  own  libretti,  and  his 
"  Crepusculum  "  was  planned  on  genu- 
inely Wagnerian  proportions.  "Me- 
dici "  was  to  be  followed  by  "  Savona- 
rola "  and  "  Cesare  Borgia,"  each  deal- 
ing with  an  important  episode  of  the 
Italian  Renaissance.  The  scheme  for 
this  trilogy  was  submitted  to  Ricordi, 
who  accepted  the  first  opera,  but  de- 
layed its  performance.  Then  the  com- 
poser allied  himself  with  Sonzogno, 
who  produced  "Pagliacci,"  May  21, 
1892,  at  the  Teatro  dal  Verme,  Milan. 
The  instant  and  increasing  popularity 
of  this  work  afforded  consolation  for 
subsequent  failures.  The  opera  "Songe 
de  une  Nuit  d'Ete,"  songs,  the  sym- 
phonic poem  "  Seraflta,"  and  the  ballet 
"La  Vita  d'una  Marionetta"  com- 
pleted the  composer's  known  works  in 
1908.    B.  Mar.  8,  1858;    add.  Naples. 

Leoni  (Leone)  composed  the  Pas- 
sion motet  "O  Domine  Jesu  Christe 
adoro  te,"  five  books  of  madrigals, 
sacred  songs  for  double  choir;  chapel- 
master  at  the  Vicenza  Cathedral,  1588- 
1623. 

Leonore.  Three  Beethoven  over- 
tures to  FIDELIO  are  so  named. 


LEONOBE  FBOHASKA      1338 


ZiEStTEtTK 


Leon  ore  Frohaska.  Friedrich 
Duncker's  play  is  said  by  Dr.  Sonn- 
leithner  to  have  been  provided  with  an 
overture  and  entr'acte  by  Beethoven, 
in  addition  to  four  niuubers  which 
have  come  down  to  us. 

Leroux  (Xavier  Henry  Napo- 
leon) composed  the  opera  "Astartfi," 
Paris  0p6ra,  Feb.  15,  1901;  "La 
Reine  Fiametta,"  OpSra  Comique,  Dec. 
23,  1903;  "Le  Cheminau  and  Theo- 
dora," 1905;  incidental  music  to 
"  Clfiopatre,"  the  lyric  drama  "  Evan- 
geline," Brussels,  1895;  incidental 
music  to  "  Les  Pers6s,"  music  for  "  La 
Montague  enchant€e "  (with  Mes- 
sager),  the  lyric  scene  "Venus  et 
Adonis";  a  mass  with  orchestra; 
taught  harmony  Paris  Conservatoire, 
1896,  where  he  won  the  prix  de  Rome, 
1885,  with  his  cantata  "  Bndymion." 
B.  Oct.  11,  1863,  Velltri,  Italy;  add. 
Paris. 

lie  Koy  (Adrien)  published  music 
in  Paris,  1540-89,  from  1552  in  part- 
nership with  R.  BALLARD,  whose 
sister  he  married;  wrote  an  Instruc- 
tion Book  for  Lute,  a  Guitar  Method, 
1578;  composed  for  and  played  lute. 
D.  about  1589. 

Leschetizky  (Theodor)  taught 
piano,  St.  Petersburg  Conservatory; 
settled  in  Vienna,  1878,  where  he 
taught  with  great  success,  and  was 
principal  master  of  Paderewski;  com- 
posed the  successful  opera  "  Die  erte 
Falte,"  Prague,  1867 ;  made  occasional 
concert  tours  as  piano  virtuoso,  debut 
in  Vienna,  1845;  pupil  of  Czemy.  B. 
June  22,  1830,  Lancut,  Austrian  Po- 
land; m.  Anna  Karenina  Friedburg, 
and  in  1880,  after  her  death,  Annette 
EssipofF,  his  pupil,  now  a  well-known 
pianist,  divorced  her  and  m.  Mme. 
Donimiska;  divorced  her,  and  on  June 
20,  1908,  m.  Marie  Gabriele  von  Ros- 
borska,  25-year  old  daughter  of  a 
Polish  noble,  who  was  also  his  pupil; 
add.  Vienna. 

Leslie  (Henry  David)  composed 
Te  Deum  and  Jubilate  in  D,  sym- 
phony in  F,  the  festival  anthem  "  Let 
God  Arise,"  soli,  chorus,  and  orches- 
tra ;  the  overture  "  The  Templar,"  the 
oratorio  "  Immanuel,"  the  operetta 
"Romance,   or   Dick   Turpin,"    1857; 


the  oratorio  "Judith,''  Birmingham 
Festival,  1858;  the  cantatas  "Holy- 
rood"  and  "Daughter  of  the  Isles"; 
the  opera  "Ida,"  1864;  songs,  cham- 
ber music;  founded  the  Leslie  Choir, 
which  won  first  prize  in  the  choir  com- 
petition, Paris,  1878;  conducted  sing- 
ing societies;  played  'cello.  B.  June 
18,  1822,  London;  d.  Feb.  4,  1896, 
near  Oswestry. 

Lessel  (Franz)  composed  three 
piano  sonatas,  a  concerto,  fantasias, 
symphonies,  church  music,  songs, 
chamber  music ;  was  a  favourite  pupil 
of  Haydn.  B.  Pulawy,  Poland,  about 
1780;    d.  Aug.  1838,  Petrikau. 

Lesser.    Minor. 

Lesson.  Exercise  for  voice  or  in- 
strument; in  harpsichord  music  a 
composition  in  three  parte  akin  te 
what  are  now  called  suites. 

Lestocq.  Daniel  F.  Et  Auber's 
four-act  opera  to  book  by  Scribe  was 
first  performed  May  24,  1834,  at  the 
Paris  Op6ra  Comique. 

Lesueur  (Jean  Frangois)  com- 
posed the  successful  operas  "  La  Ca- 
verne,"  "Paul  et  Virginie";  taught 
Berlioz,  Ambroise  Thomas,  and  Gou- 
nod during  a  long  professorship  of 
composition  at  the  Paris  Conserva- 
toire. In  childhood  a  chorister,  he 
studied  harmony  with  Abb6  Roze,  be- 
coming chapelmaster  at  Notre  Dame, 
Paris,  in  1786.  He  engaged  a  full  or- 
chestra and  attempted  to  make  the 
music  of  the  mass  "  dramatic  and 
descriptive,"  even  composing  overtures 
with  which  to  open  the  service.  Natu- 
rally he  aroused  opposition,  his  or- 
chestra was  reduced,  and  after  two 
years  he  retired  to  the  country.  His 
sincerity  is  proved  by  his  having  taken 
minor  orders,  although  declining  the 
priesthood.  The  operas  above  men- 
tioned and  "  Telemaque  "  won  him  an 
appointment  in  the  £lcole  de  la  Garde 
Nationale,  1792,  and  on  the  founda- 
tion of  the  Conservatoire,  1795,  he 
was  made  inspector,  and  aided  M6hul, 
Gossec,  Catel,  and  Langlg  in  prepar- 
ing its  first  text-books.  The  failure  of 
the  Acad€mie  to  produce  his  operas 
led  him  to  attack  Catel,  and  resulted 
in  his  dismissal,  1802,  but  two  years 
later  he  became  chapelmaster  te  the 


XiETZEN   DINGE 


329 


LIBERATI 


First  Consul,  and  when  the  First  Con- 
sul became  Emperor,  Lesueur  produced 
his  "Ossian,"  at  the  inauguration  of 
the  Academie  Imperials,  and  received 
the  Legion  of  Honor.  In  1813  he  be- 
came member  of  the  Institut;  and 
Louis  XVIII  made  him  surintendant, 
his  composer,  and  professor  at  the 
Conservatoire.  Besides  the  works 
named,  Lesueur  composed  the  opera 
"  La  Mort  de  Adam  et  son  Apothgose," 
the  posthumous  operas  "  Tyrtge,"  "  Ar- 
taxerse,"  "Alexandre  a  Babylon"; 
two  composed  with  Persuis,  "  Le  Tri- 
omphe  de  Trajan  "  and  "  L'lnaugura- 
tion  du  Temple  de  la  Victoire"; 
"L'Oratorio,  ou  Messe  de  Noel,"  the 
oratorios  "  Debora,"  "  Rachel,"  "  Ruth 
et  No6mi,"  the  cantata  "Ruth  et 
Boaz,"  for  Napoleon's  marriage ;  three 
solemn  masses,  three  oratorios  for  the 
coronation  of  sovereign  princes,  and 
much  church  music.  B.  Drucat-Ples- 
siel,  near  Abbeville,  Feb.  15,  1760;  d. 
Oct.  6,  1837,  Paris. 

Letzen.  Dinge.  Spohr's  oratorio 
known  as  the  "  LAST  JUDGMENT  " 
in  its  English  version. 

lieutgeb  (Tosef)  played  horn;  was 
the  intimate  of  Mozart,  who  composed 
concertos  and  other  horn  pieces  for 
him.    D.  Feb.  27,  1811*. 

Leva,  de  (Enrico)  composed  the 
serenata  "A  Capomonte,"  "Sirenetta," 
from  D'Annunzio's  "  Gioconda,"  many 
highly  popular  songs,  the  opera  "  La 
Camargo,"  Turin,  1898,  orchestral 
suites;  wrote  on  choral  singing;  pu- 
pil of  the  Naples  Conservatory.  B. 
Jan.  19,  1867,  Naples;    add.  Naples. 

Levasseur  (ITicliolas  Prosper) 
created  the  rOles  of  Bertram  in 
"Robert,"  Zacharie  in  the  "Prophete," 
Moses  in  Rossini's  opera;  debut,  1813, 
at  the  Paris  Acadgmie;  pupil  and 
later  head  of  vocal  department  at  the 
Paris  Conservatoire;  Chevalier  of 
the  Legion  of  Honor.  B.  Bresles, 
Oise,  Mar.  9,  1791;  d.  Dec.  5,  1871, 
Paris. 

Leveridge  (Richard)  composed 
songs  including  "The  Roast  Beef  of 
Old  England,"  "All  in  the  Downs"; 
sang  bass  in  London  operas  and  con- 
certs. B.  about  1670,  London;  d.  Mar. 
22,  1758,  London. 


Levey  (Richard  Michael)  helped 
found  the  Royal  Irish  Academy  of 
Music,  1850;  conducted  at  the  Dublin 
Theatre  Royal;  published  two  vols, 
ancient  Irish  airs ;  composed  music  for 
"Puss  in  Boots"  aad  other  panto- 
mimes. B.  Oct.  25,  1811,  Dublin;  real 
name  O'Shaughnessy;  d.  June  28, 
1899.  Richard  Michael,  Jr.,  played 
violin  and  figured  as  principal  in 
"  Paganini's  Ghost."  B.  Dublin,  1833, 
son  of  RICHARD  MICHAEL.  Wil- 
liam Charles  composed  the  operettas 
"Fanchette,"  Covent  Garden,  1864, 
"Punchinello";  incidental  music  to 
"  Amy  Robsart "  and  other  plays,  the 
boy's  cantata  "Robin  Hood,"  panto- 
mimes; pupil  of  his  father  RICHARD 
MICHAEL ;  conducted  at  Drury  Lane, 
London,  1868-74.  B.  Dublin,  April 
25,  1837;    d.  Aug.  18,  1894,  London. 

Levi  (Hermann)  conducted  the 
first  performance  of  "Parsifal,"  Bay- 
reuth,  July  28,  1882;  chapelmaster  at 
Carlsruhe  and  Munich ;  pupil  of  Lach- 
ner  and  the  Leipsic  Conservatory.  B. 
Giessen,  Nov.  7,  1839;  d.  May  13,  1900, 
Munich. 

Lewis  (Thomas  C.)  built  organs, 
establishing  himself  in  London,  1861. 

Liadov  (AnatorConstantinovich) 
composed  mazourkas,  40  studies  and 
preludes.  Op.  40,  and  other  piano 
pieces,  songs,  chorals;  aided  Bala- 
kirev  and  Liapounov  in  collecting  Rus- 
sian folksongs;  taught  theory  St. 
Petersburg  Conservatory,  where  he  had 
been  a  pupil  under  Rimsky-Korsakov. 
B.  May  11,  1855,  St.  Petersburg;  add. 
St.  Petersburg. 

Liapounov  (Serge  Michaelovitch) 
composed  a  concert,  symphony;  pub- 
lished folksongs  which  he  had  collected 
on  behalf  of  the  Russian  Imperial  Geo- 
graphical Society  with  Balakirev  and 
Liadov,  1897;  assistant  chapelmaster 
and  music  master  to  the  Imperial 
family,  St.  Petersburg;  pupil  of  Klind- 
worth,  Pabst,  Hubert,  and  Moscow 
Conservatory.  B.  Nov.  30,  1859,  Jaro- 
slav;    add.  St.  Petersburg. 

Liberati  (Antimo)  became  a  singer 
in  the  papal  chapel,  1661;  played  or- 
gan and  conducted  in  Roman  churches ; 
wrote  gossip  about  the  composer  Gau- 
dio  Mell  which  misled  many  historians 


LIBRETTO 


330 


LILIENCBON,    VOW 


into  believing  he  had  been  Palestrina'a 

Libretto.  /*.  "Little  Book." 
Text  of  an  opera  or  oratorio. 

License.  Departure  from  the  gen- 
erally accepted  rules  of  art. 

Lichanos.  Forefinger  string  of 
the  lyre. 

Lichflld  (Henry)  composed  20 
madrigals,  published  in  London,  1613. 

Lichnowsky  (Prince  Carl)  was 
Beethoven's  friend  and  patron  in  Vi- 
enna as  he  had  previously  been  to 
Mozart.  The  family  was  of  ancient 
Polish  lineage,  and  owned  estates 
which,  on  the  dismemberment  of  that 
kingdom,  lay  partly  within  the  ter- 
ritories of  Austria,  Russia,  and  Prus- 
sia. Beethoven  lived  for  a  time  in  the 
Lichnowsky  house,  but  quarrelled  with 
the  family  and  removed  to  other  quar- 
ters. A  complete  reconciliation  fol- 
lowed, although  the  composer  did  not 
return  to  Lichnowsky's  house.  B. 
1758;    d.  April  15,  1814. 

Li€.     Fr.    Tied,  bound. 

Lie  (Siglird)  composed  sjrmphony 
in  A  minor,  Oriental  suite  for  orches- 
tra, piano  quintet,  "  marche  sympho- 
nique,"  vocal  music;  conducted  the 
Harmonien  choral  society  and  at  the 
Central  Theatre,  Bergen,  Norway;  pu- 
pil Leipsic  Conservatory.  B.  May  23, 
1871;   d.  Sept.  30,  1904. 

Lie-Wissen  (Erika)  played  piano 
in  concert  tours  of  Europe;  taught  at 
Copenhagen  Conservatory,  1870.  B. 
Jan.  17,  1845,  Kangsviger,  Norway; 
d.  Oct.  27,  1903,  Christiania. 

Liebeslied.     Ger.    Love  song. 

Liebesverbot.  Richard  Wagner's 
two-act  opera  to  his  own  book,  founded 
on  "Measure  for  Measure,"  was  first 
performed  Mar.29, 1836,  at  Madgeburg. 

Lleblich.  Qer.  Lovely,  sweet- 
toned  ;  Oedact,  closed  pipe  organ  stop. 

Liebling  (Emil)  composed  songs 
and  piano  pieces;  aided  in  compiling 
a  "  Dictionary  of  Terms,"  taught 
piano ;  played  at  concerts,  wrote  criti- 
cism; settled  in  Chicago,  1872;  pupil 
of  Ehrlich,  Kullah,  Dachs,  Liszt,  and 
Dorn.  B.  April  12,  1851,  Pless,  Sile- 
sia;  add.  Chicago. 

Lied.  Ger.  "  Song."  The  word  is 
properly  used  to  designate  such  songs 


as  are  purely  German  in  origin,  tem- 
perament, and  taste,  whether  sacred 
or  secular  in  subject.  Folksongs  are 
called  Volklieder;  modern  composi- 
'tions  in  folksong  style  are  called 
"  Volksthumliches  Lied,"  those  in 
more  elaborate  style  are  "  Kunstlied," 
and  these  may  be  either  Durchcom- 
ponirte,  in  which  each  verse  receives 
fresh  melodic  treatment,  or  "  Stroph- 
ische,"  that  is  in  ballad  style. 

Lied  Form.  Theme  or  construc- 
tion of  a  song. 

Lied  Ohne  Worte.  Ger.  "Song 
without  words."  The  name  is  liter- 
ally descriptive  of  some  of  Mendels- 
sohn's beautiful  piano  pieces. 

Liedercyclus.     Ger.    Song  cycle. 

Liederkreis.  Ger.  "Song  wreath.'' 
Song  cycle. 

Liederspiel.  Ger.  Play  in  which 
songs  are  introduced;    operetta. 

Liedertafel.  Ger.  "Song  table." 
Convivial  male  chorus;  informal  con- 
cert at  which  refreshments  are  served. 

Life  for  the  Czar.  Michael  Ivano- 
vich  Glinka's  four-act  opera  to  book 
by  Baron  Rosen  was  first  performed 
Nov.  27,  1836,  in  St.  Petersburg. 

Life  Let  TTs  Cherish.  The  song 
known  in  Geriqan  as  "  Freut  euch  des 
Lebens,"  was  composed  by  Hans  Georg 
Naegeli,  1793,  to  words  by  Martin 
Usteri. 

Ligatostil.    Ger.    In  strict  style. 

Ligature.  Notes  sung  to  a  single 
syllable  or  in  a  single  breath  or  played 
with  one  bow  stroke;  tie;  syncopa- 
tion; in  obsolete  notation  of  Plain 
Song  the  notes  to  be  so  sung  were  run 
together;  the  flexible  metal  band  by 
which  the  reed  is  secured  to  the  mouth- 
piece in  Saxophones  and  Clarinets. 

Light  (Edward)  invented  the 
HARP-LUTE  and  a  similar  instru- 
ment which  is  called  the  ApoUo-Jyre; 
taught  and  arranged  music  for  guitar ; 
last  patent  for  the  Harp-Lute,  1818. 

Light  of  the  World.  Sir  Arthur 
Sullivan's  oratorio  to  Biblical  text  was 
first  performed  Aug.  27,  1873,  at  the 
Birmingham  Festival. 

Ligneum  Fsalterium.  L.  XYLO- 
PHONE. 

Liliencron,  von  (Baron  Bochus) 
collected  and  published  five  vols,  oi 


lilLLIBtTELEKO  331  LIND 

Volkslieder ;  wrote  a  history  of  Lu-  1714  and  demolished  in  1848  to  make 
theran  Church  music  from  1523  to  room  for  an  extension  of  the  College 
1700,  other  historical  works;    became    of  Surgeons. 

president  of  the  royal  Prussian  Com-       Lind  (Jenny)  sang  sop.  in  opera; 
mission    for    publishing    the   "  Denk-    debut  at  10  in  a  child's  part  at  Stock- 
m3.1er  Deutscher  Tonkiinst  " ;  Dr.  Jur.,    holm,  becoming  in  later  life  one  of  the 
Dr.  Phil.,  diplomat,  pedagogue,  novel-    most    famous    of    the    world's    great 
ist.     B.  Dee.  8,  1820,  PlBn,  Holstein;    singers.    Her  first  instruction  in  child- 
add.  Schleswig.  hopd  was  received  at  the  school  at- 
Lilliburlero.      Henry    Purcell's    tached  to  the  Court  Theatre,  Stock- 
music  to  doggerel  verses  ridiculing  the    holm.     At   18   she  made  her  formal 
Irish  Catholics  had  an  important  eflfect    debut  as  Agathe-in  "  Freischatz,"  and 
on  the  Revolution  of  1688  in  which    in  1840  became  a  member  of  the  Royal 
James  II   was  overthrown,  and  con-    Swedish  Academy  of  Music.    The  fol- 
tinued  to  be  popular  in  the  British    lowing  year  she  went  tb  Paris,  where 
army  until  about  1750,  when  it  was    she  studied  with  Manuel  Garcia.  After 
discontinued  as  a  march,  because  of  the    the  rest  and  study  prescribed  by  that 
offense  it  gslve  the  Irish  Catholic  sol-    great  singing  master,  she  returned  to 
diers.    It  is  possible  that  the  tune  may    Stockholm,  but  obtaining  an  engage- 
have  been  originally  an  Irish  nursery    ment  at  Berlin  through  the  influence 
song  which  Purcell  merely  harmonized,    of  Meyerbeer,  who  had  heard  her  sing 
Iiilt.    To  sing,  pipe,  or  play;   Irish    in  Paris,  she  visited  Dresden  to  learn 
dance  accompanied  by  singing.  German,  and  in  1844  made  her  debut 
Lily  of  Killarney.     Julius  Bene-    there    in   Meyerbeer's    "  Feldlager   in 
diet's  three-act' opera  to  book  by  John    Sohlesien."    Her  voice"  ranged  from  b 
Oxenford,   founded   on   "  The   Colleen    to  g'",  and  was  remarkable  for  both 
Bawn,"  was   first  performed   Feb.   8,    power  and  fiexibility.     She  was  a  fa- 
1862,  at  Covent  Garden,  London,  by    vourite  in  Berlin,  and  in  other  German 
the  Royal  English  Opera  Company.         cities   which   were   soon   visited.     In 
liimma.     Or.    Interval  in  music  a    1846  she  sang  in  Vienna,  again  toured 
comma  less  than  a  major  semitone.         Germany,  and  set  the  London  managers 
Limpus    (Richard)    helped    found    Bunn  and  Lumley  fighting  for  an  en- 
the  Royal  College  of  Organists ;  played    gagement   with   her.      The    following 
organ  in  London  churches ;  pupil  Royal    year  she  captivated  London,  returning 
Academy  of  Music.    B.  Sept.  10,  1824,    there  as  well  as  touring  Europe  for  the 
Isleworth;   d.  Mar.  15,  1875,  London,      next  two  years.    Her  last  operatic  ap- 
Lincke   (Joseph)   played  'cello   in    pearance  was  in  "Roberto,"  May  10, 
the  Schuppanzigh  quartet;    composed    1849,  at  Her  Majesty's  Theatre,  Lon- 
variations    and    concertos    for   'cello;    don,  and  thereafter  she  sang  only  in 
became  the  intimate  associate  of  Bee-    concerts.      From   1850    to    1852    she 
thoven     B.  June  8,  1783,  Traekenberg,    toured  America  under  the  management 
Prussian  Silesia;     d.  Mar.  26,   1837,    of  P.  T.  Bamum,  the  best  advertised 
Vienna.  singer  the  country  had  ever  known. 
Iiinooln  (Henry  Cephas)  built  or-    Julius  Benedict  was  her  accompanist, 
eans  in  London.     B.   1789;    d.   1864,    Miss  Lind's  profits  amounted  to  $120,- 
London.    Henry  John  played  organ;    000.     While  in   Boston   she  married 
wrote' music  criticism  for  the  London   the    pianist    of    her   company.   Otto 
"Daily  News,"  1866-86;    lectured  on    Goldschmidt,  Feb.  5,  1852.    Returning 
musical   subjects.     B.   Oct.    15,   1814,    to  Europe  she  was  warmly  received  in 
London;    son  of  HENRY  CEPHAS;    Germany  and  Holland      In  1856  she 
d   Aug   16    1901.  settled  in  London  with  her  husband, 
Lincoln's  Inn  Fields  Theatre  was    who  was  director  of  the  Bach  Choir, 
the  home  of  the  Italian  opera  given  in    and  sang  frequently  at  his  concerts 
London  in  opposition  to  Handel,  1734,    and  at  the  larger  festivals.    Her  fare- 
later  of  Handel's  own  companies  for    well  concert   (for  charity)   took  place 
opera  and  oratorio.    It  was  erected  in   July  23,  1883,  at  Malvern,  and  in  that 


LIITDA   DI   CHAHOTTin       332 


LINLET 


year  she  became  a  teacher  in  the  Royal 
College  of  Music,  where  she  remained 
until  1886.  Pure  and  generous  in  pri- 
vate life,  no  singer  of  modern  times 
retained  the  affection  of  her  public 
longer  than  Jenny  Lind.  B.  Oct.  6, 
1820,  Stockholm;  d.  Nov.  2,  1887, 
Wynd's  Point,  Walvem,  Eng.  A  me- 
dallion to  her  memory  was  unveiled  in 
Westminster  Abbey,  April  20,  1894. 
S^e  biographies  by  A.  J.  Becher,  1847 ; 
Canon  Scott- Holland  .and  W.  S.  Rock- 
Btro,  1891. 

Linda  di  Chamouiti.  Gaetano 
Donizetti's  thfee-act  opera  to  book  by 
Rossi  was  first  performed  May  19, 
1842,  at  the  Karnthnerthor  Theatre, 
Vienna. 

Lindblad  (Adolf  Frederick)  com- 
posed Swedish  songs  with  piano  accom- 
paniment, which  Jenny  Lind  made 
popular;  a  symphony  in  C,  duo  for 
piano  and  violin ;  the  opera  "  FrondS,- 
rarne,"  Stockholm,  1835 ;  taught  sing- 
ing. B.  Feb.  1,  1801,  Stockholm;  d. 
Aug.  23,  1878. 

Lindley  (Robert)  composed  'cello 
concertos ;  played  'cello  London  Opera ; 
taught  Royal  Academy  of  Music.  B. 
Mar.  4,  1776,  Rotherham;  d.  June  13, 
1855,  London.  William  played 'cello; 
pupil  of  his  father,  ROBERT.  B. 
1802,  London;  d.  Aug.  12,  1869, 
Manchester. 

Lindner  (Friedrich)  edited  collec- 
tions of  music  for  Gerlach;  became 
cantor  of  the  Nuremberg  St.  Aegidien- 
kirche.  B.  about  1540,  Liegnitz,  Sile- 
sia;   d.  Sept.  15,  1597,  Nuremberg. 

Lindpaintner,  von  (Peter  Joseph) 
composed  "  Der  Vampyr,"  "  Lichsen- 
stein,"  and  in  all  28  operas,  three  bal- 
lets, five  melodramas,  "Abraham"  and 
four  other  oratorios,  six  masses,  can- 
tatas, symphoniesj  a  Stabat  Mater,  50 
songs;  was  the  best  conductor  in  Eu- 
rope, according  to  Mendelssohn;  chap- 
elmaster  at  Stuttgart.  B.  Dec.  9,  1791, 
Coblenz;  d.  Aug.  21, 1856,  Nonnenhorn. 

Linea.     L.    Line. 

Liniensystem.  Ger.  The  five  line 
stave. 

Linke  Hand.    Oer.    Left  hand. 

Llnley  (Francis)  composed  songs, 
organ  and  piano  pieces ;  played  organ ; 
published  music  in  London;    visited 


America,  1796-99;  resumed  profes- 
sional work  in  England;  pupil  of  Dr. 
Miller;  blind  from  birth.  B.  1771, 
Doncaster;  d.Sept.  13, 1800,  Donoaster. 

Linley  (George)  composed  the 
operas  "  Francesca  Doria,"  1849;  "La 
Poupfie  de  Nuremberg,"  Covent  Gar- 
den, 1861;  "Ever  of  thee"  and  other 
popular  songs ;  edited  "  Scottish  Mel- 
odies," hymns,  two  books  of  Nursery 
Rhymes;  wrote  "The  Musical  Cynics 
of  London,"  1862;  played  'cello.  B.  ■ 
1798,  Leeds;  d.  Sept.  10,  1865,  London. 

Linley  (Thomas)  composed  songs, 
cantatas,  madrigals,  arranged  accom- 
paniments of  songs  for  the  Beggar's 
Opera ;  composed  music  for  "  The 
Duenna,"  "  Tom  Jones,"  and  numerous 
other  pieces  produced  at  Drury  Lane, 
where  he  conducted  the  music,  and  be- 
came part  owner  by  purchasing  Gar- 
rick's  shares,  1776;  in  early  life 
taught  singing  and  gave  concerts  in 
Bath;  pupil  of  Thomas  Chilcot.  B. 
Wells,  Somerset,  1732;  d.  Nov.  19, 
1795,  London.  Elizabeth  Ann,  known 
as  "  The  Maid  of-  Bath,"  sang  sop.  with 
success  in  oratorios  and  concerts,  but 
retired  shortly  after  her  marriage  to 
Richard  Brinsley  Sheridan.  She  waa 
painted  as  Saint  Cecilia,  and  as  the 
Virgin,  in  his  "  Nativity,"  by  Sir 
Joshua  Reynolds.  B.  Sept.  7,  1754, 
Bath;  daughter  of  THOMAS;  d.  June 
28,  1792,  Bristol.  Mary  sang  with 
her  sister  ELIZABETH  ANN  in  festi- 
vals, oratorios,  and  concerts,  retiring 
on  her  marriage  to  Richard  Tiekell. 
B.  Bath;  d.  July  27,  1787,  Clifton. 
Maria  sang  in  concerts  and  oratorio; 
daughter  of  THOMAS;  d.  Sept.  '15, 
1784,  Bath.  Thomas,  Jr.,  composed 
songs  for  "  The  Tempest,"  an  "  Ode  on 
the  Witches  and  Fairies  of  Shake- 
speare," the  oratorio  "Song  of  Moses"; 
played  violin  and  led  at  concerts  given 
by  his  father  THOMAS ;  was  intimate 
in  early  life  with  Mozart.  B.  1756, 
Bath;  accidentally  drowned,  Aug.  7, 
1778,  while  visiting  the  Duke  of  An- 
caster  at  Grimsthorpe,  Lincolnshire. 
Ozias  Thurston  took  orders,  but  re- 
signed on  becoming  junior  fellow  and 
organist  at  Dulwich  College.  B.  1765 ; 
son  of  THOMAS,  SR.;  d.  Mar.  6, 
1831,    Dulwich.      William    composed 


lilNTERN 


333 


LISZT 


the  prize  glee  "  At  that  dread  nour," 
songs,  canzonets ;  edited  "  Shakespeare's 
Dramatic  Songs,"  two  vols.,  1815-16; 
assisted  Sheridan  in  management  of 
Drury  Lane;  wrote  unsuccessful  plays; 
was  for  a  time  an  official  in  India.  B. 
1771;  son  of  THOMAS,  SR.;  d.  May 
6,  1835,  London. 

IiiiLteriL  (J.  &  W.)  published  music 
in  Bath,  Eng.,  toward  the  close  of  the 
18th  century. 

Zilpinski  (Karl  Joseph)  composed 
a  "  Military  Concerto  "  and  other  vio- 
lin music;  became  celebrated  as  a  vio- 
lin virtuoso,  taking  lessons  from  Paga- 
nini,  playing  in  concert  with  him,  and 
afterwards  posing  as  his  rival;  or- 
ganized the  court  music  while  concert- 
meister  at  Dresden.  B.  Oct.  30,  1790, 
Radzyn,  Poland;  d.  Dec.  16,  1861, 
near  Lemberg. 

Iiipsius  (SCarie)  edited  Liszt's  let- 
ters, 1828-86;  Eng.  trans.,  1894; 
translated  Liszt's  "  Chopin  "  into  Ger- 
man ;  Wrote  "  Klassisches  und  Roman- 
tisches  aus  der  Tonwelt,"  1892,  and 
other  books  on  music,  published  under 
the  pen  name  "  La  MARA."  B.  Deo. 
30,   1837,  Leipsic;    add.  Leipsic. 

Lira.  /*.  Lyre;  Di  Braccia,  ob- 
solete tenor  violin;  Da  Gamba,  ob- 
solete 'celjo;  Tedesca,  Bustica, 
hurdy-gurdy;  Barberina,  viol  in- 
vented by  J.  B.  Doni  and  named  for 
the  Cardinal  of  that  name. 

Liressa.    /*.    Inferior  lyre. 

Lischen  et  Eritzchen.  Jacques  Of- 
fenbach's one-act  operetta,  to  words 
by  Paul  Dubois,  was  first  performed 
at  Ems,  then  at  the  Bouflfes-Parisiens, 
Jan.  5,  1864. 

Liscio.     It.    Smooth,  polished. 

Lisley  (John)  composed  the  six- 
part  madrigal  "Faire  Citharea  pre- 
sents hir  doves,"  published  in  the 
"  Triumphes  of  Oriana,"  London,  1601. 
*  Listemann  (Fritz)  played  violin, 
Thomas,  Philharmonic,  and  Symphony 
orchestras,  arriving  in  America,  1867 ; 
toured  with  "  Listemann  Concert  Com- 
pany"; taught  in  New  York;  com- 
posed two  violin  concertos;  pupil  of 
his  uncle  Ullrich,  of  David,  Leipsic 
Conservatory;  chamber  musician  to 
Prince  Rudolstadt,  1858.  B.  Mar.  25, 
1839,    Schlotheim,    Thuringia;    add. 


New  York.  Bernhard  wrote  a  method 
for  violin;  became  concertmeister 
Thomas  Orchestra,  1871-74;  founded 
the  "  Philharmonic  Club,"  with  which 
he  made  concert  tours;  conducted 
Boston  Philharmonic  Orchestra,  1878- 
81;  founded  Listemann  Quartet;  di- 
rected Listemann  Concert  Company; 
taught  Chicago  College  of  Music,  1893 ; 
pupil  of- Ullrich,  David,  Vieuxtemps, 
Joachim  >  played  in  Rudolstadt  Court 
Orchestra;  came  to  America  with  his 
brother  FRITZ.  B.  Aug.  28,  1841; 
add.  Chicago.  Paul  played  violin 
Listemann  Quartet  and  Concert  Com- 
pany; became  concertmeister  Pitts- 
burgh Symphony  Orchestra,  1896,  later 
of  a  New  York  orchestra;  soloist 
Redpath  Concert  Company;  pupil  of 
his  father,  BERNHARD,  and  his  uncle, 
FRITZ,  and  of  Brodsky,  Hilf,  and  Joa- 
chim. B.  Oct.  24,  1871,  Boston;  add. 
New  York.  Franz  played  first  'cello 
Pittsburgh  Orchestra,  settled  in  New 
York  as  concert  'cellist  and  teacher; 
pupil  of  Fries,  Giese,  Klengel,  and 
Hausmann.  B.  Dec.  17,  1873,  New 
York;  son  of  BERNHARD;  add.  New 
York. 

Liszt  (Franz)  became  the  world's 
greatest  pianist;  immortalized  Mag- 
yar music  in  15  "  Rhapsodies  Hon- 
groiSes  " ;  developed  in  the  symphonic 
poem  a,  new  orchestral  form;  com- 
posed oratorios,  songs,  orchestral 
works,  which  rank  him  with  the 
world's  greatest  tone  poets;  was  the 
most  intelligent  and  generous  patron 
of  music  in  ithe  19th  century,  befriend- 
ing Berlioz,  Cornelius,  Raff,  Schu- 
mann, and  Wagner.  Pupil  at  first 
of  his  father,  Adam  Liszt,  steward  to 
Prince  Esterhazy,  but  a  skilful  ama- 
teur pianist,  young  Franz  or  Ferencz 
(to  give  the  name  its  original  form) 
made  his  debut  at  nine  in  Oedenburg, 
with  the  result  that  a  group  of  Hun- 
garian nobles  guaranteed  the  family 
an  income  of  600  florins  for  six  years 
in  order  that  he  might  study  in  Vi- 
enna. There  he  became  a  pupil  of 
Czemy,  studied  harmony  with  Salieri 
and  Randhartinger,  and  at  his  first 
concert,  Jan.  1,  1823,  won  the  ap- 
proval of  Beethoven.  In  the  same 
year   his   variations   on   a   waltz   by 


LISZT 


334 


LISZT 


Diabelli  were  published  along  with 
those  of  Beethoven  and  48  other  com- 
posers, and  the  boy  went  to  Paris, 
hoping  to  enter  the  Conservatoire. 
Cherubini's  prejudice  against  child 
virtuosi  and  the  fact  that  he  was  a 
foreigner  prevented  him  from  enter- 
ing this  institution,  but  he  received 
lessons  from  Eeicha  and  Paer,  and  in 
1824  made  his  first  visit  to  England, 
where  he  was  cordially  received.  His 
operetta  "  Don  Sanche  "  was  performed 
Oct.  17,  1825,  at  the  Paris  Academic 
Royale,  and  his  career  as  concert  pian- 
ist continued  with  brilliant  success 
until  1827,  when  the  death  of  his 
father  made  it  necessary  for  him  to 
provide,  for  his  mother's  support  by 
teaching  in  Paris.  In  the  French 
capital  he  formed  the  acquaintance  of 
Chopin,  Berlioz,  von  Weber,  Paganini, 
and  of  such  literary  personages  as 
Mme.  Dudevant  (to  whom  he  intro- 
duced Chopin),  Hugo,  and  Lamartine. 
There,  too,  he  met  Countess  D'Agoult, 
a  writer  who  signed  herself  "  Daniel 
Stern,"  with  whom  he  had  a  liason 
that  lasted  from  1834  to  1844,  during 
part  of  which  period  they  lived  in 
Geneva.  A  son  and  three  daughters 
were  born  of  this  union,  the  youngest, 
at  first  the  wife  of  von  BULOW,  being 
afterwards  married  to  RICHARD 
WAGNER.  In  1839  Liszt  began  a  series 
of  concert  tours  which  continued  14 
years,  taking  him  to  all  the  principal 
cities  of  Europe.  It  was  during  this 
period  that  he  successfully  undertook 
to  raise  money  with  which  to  com- 
plete the  Beethoven  monument  at 
Bonn.  In  1849  he  became  conductor 
of  the  court  opera  at  Weimar,  dis- 
playing as  much  enthusiasm  for  the 
orchestra  as  he  had  previously  for 
piano.  Weimar  speedily  became  the 
musical  centre  of  the  civilized  world, 
and  so  remained  during  the  twelve 
years  of  Liszt's  sojourn,  owing  not 
only  to  the  excellence  of  the  company 
which  he  gathered,  the  number  of  new 
works  produced,  but  equally  to  the 
presence  of  an  enthusiastic  band  of 
disciples  who  gathered  about  him. 
During  this  period  he  resided  at  a 
house  called  "  Altenburg "  with  the 
Princess  Karolyne  zu  Sayn-Wittgen- 


stein,  who  is  said  to  have  aided  him 
in  writing  his  Life  of  Chopin,  mono- 
graphs on  Wagner,  etc.  While  at 
Weimar  Liszt  brought  out  "Lohen- 
grin "  and  Tannhauser  at  the  request 
of  Wagner.  His  piano  transcriptions 
of  Wagner's  music  and  his  essays  de- 
fending and  praising  that  composer 
had  already  conferred  obligations 
which  even  Wagner  acknowledged,  and  - 
the  encouragement  and  assistance, 
both  artistic  and  financial,  which 
Liszt  gave  him  continued  through  life. 
Wagner's  "  Flying  Dutchman,"  Ber- 
lioz's "  Benvenuto  Cellini,"  Schumann's 
music  to  "  Manfred  "  and  his  "  Geno- 
veva,"  and  "  Alfonso  und  Bstrella," 
by  Schubert,  were  all  performed  dur- 
ing Liszt's  regime,  which  suddenly 
terminated  in  1859,  when  Liszt  with- 
drew, owing  to  a  cabal  formed  against 
Corbelius's  "  Barber  of  Bagdad."  For 
the  greater  part  of  the  next  six  years 
Liszt  lived  in  Rome.  As  a  boy,  he 
had  aspirations  toward  the  priest- 
hood, from  which  he  was  dissuaded 
with  some  difficulty.  During  his  resi- 
dence in  Geneva  he  had  entered  the 
Masonic  order,  but  his  surroundings 
in  Rome  awakened  the  old  instinct, 
and  in  1850  he  became  a  Tertiary  of 
the  Order  of  St.  Francis,  and  in  1859 
received  minor  orders  and  was  pre- 
sented to  an  honorary  canonry  by  the 
Pope.  The  Hungarian  government  of- 
fered him  the  directorship  of  the 
Academy  of  Music  at  Pest,  1870,  and 
he  became  reconciled  to  the  court  of 
Weimar  at  about  the  same  period, 
and  for  the  remainder  of  his  life  his 
time  was  divided  between  Rome,  Wei- 
mar, and  Pest,  and  he  was  accom- 
panied to  each  city  by  a  coterie  of 
young  musicians,  to  whom  he  gave 
lessons  free  of  charge.  His  composi- 
tions during  the  latter  part  of  his, 
life  were  chiefly  to  sacred  texts, 
"  Christus  "  and  "  The  Legend  of  St. 
Elizabeth "  being  the  most  notable. 
In  1886  he  began  a  last  triumphal 
tour  of  Europe,  visiting  Paris,  where 
his  "  Graner  Messe  "  was  sung  at  St. 
Eustache's  Church;  London,  where 
Walter  Bache  gave  a  concert  exclu- 
sively of  Liszt  numbers,  and  later  a 
peirformance  of  his  "  St.  Elizabeth " 


LISZT 


335 


LISZT 


was  given  in  his  honour;    then  Paris, 
where  he  heard  his  "  St.  Elizabeth  " 
again.     A  tour  of  Holland  and  Ger- 
many  followed,  and  in  July  he   at- 
tended   the    marriage    of    his   grand- 
daughter Daniela  von  Bulow  to  Herr 
von  Th(Jde,  in  Bayreuth.    July  23  he 
attended  a  performance  of."  Parsifal," 
at  which  he  contracted  a  severe  cold, 
which  was  aggravated  by  exposure  in- 
cident to  attending  a  performance  of 
"  Tristan,"  and  developed  into  a  fatal 
illness.     B.   Oct.   22,    1811,    Raiding, 
Hungary;   d.  July  31,  1886,  Bayreuth. 
See    biography  by    L.    Eaman,    Eng. 
trans.,  1882.    A  complete  catalogue  of 
Liszt's  works  does  not,  as  yet,  exist, 
but  the  names  of  the  most  important 
are  appended:    Picmo  music:    "Ade- 
laide "     ( Beethoven ) ,    transcription ; 
Album,  "  An  die  feme  Geliebte  "  (Bee- 
thoven), transcription;  "Auf  Flugeln 
des  Giesanges"    (Mendelssohn),  tran- 
scription;     Concerto    Pathetique,    E 
minor,  two  pianos;    Consolations,  No. 
1,  E  major.  No.  2,  E  major.  No.  3, 
D  major.  No.  4,  D  major.  No.  5,  E 
major.  No.   6,  E  major;    symphonic 
poems.  No.   1,  "  Ce  qu'on  entend  sur 
la  montagne"   (after  Hugo)  ;    No.  2, 
Tasso,    Lamento    e    Trionfo;    No.    3, 
"Les  Preludes"    (after  Lamartine) ; 
No.  4,  Orpheus;    No.  5,  Prometheus; 
No.    6,    "Mazeppa"     (after    Hugo); 
No.    7,    Festklange;    No.    8,    H6roide 
funebre;    No.  9,  Hungaria;    No.   10, 
Hamlet;    No.   11,  "  Hunnenschlacht " 
(after     Kaulbach);     No.     12,    "Die 
Ideale"    (after  Schiller).     (These  12 
works  may  be  had  in  either  two  hand 
or   four   hand   arrangements,   or    for 
two  pianos.)   "Einzug  der  GSsteauf 
Wartburg,"  Tannhauser  transcription; 
"Elsas  Brautzug  zum  Munster,"  Lo- 
hengrin transcription;  "Elsas  Traum 
und  Lohengrins  Verweis,"  Lohengrin 
transcription;    "  Es   war   einmal   ein 
Konig  (Beethoven)  transcription;  six 
grand  etudes  for  violin  by  Paganini, 
transcriptions;      Etudes     d'execution 
transcendante.  No.  1,  Preludio;  No.  2, 
fitude;    No.  3,  Paysage;    No.  4,  Ma- 
zeppa;   No.  5,  Irrlichter;    No.  6,  Vis- 
ionT    No.    7,   Broica;     No.    8,   Wilde 
Jagd;     No.   9,   Ricordanza;     No.    10, 
fitude;    No.  11,  Harmonies  du  Soir; 


No.  12,  Chasse-Neige;  "  Festspiel  und 
Brautlied,"   Lohengrin  transcription; 
"  FreudvoU  imd  LeidvoU,"  transcrip- 
tion   from    Beethoven's    "  Egmont " ; 
"  Frflhlingslied,"    Mendelssohn    tran- 
scription; lUustrationen  from  Meyer- 
beer's "  Prophete,"  in  three  numbers ; 
Impromptu;     "Isoldens     Liebestod," 
Tristan     und     Isolde     transcription; 
Konzert-paraphrase  on  Mendelssohn's 
Hochzeitmarsch,   Midsiuumer   Night's 
Dream;     Konzert   solo   in  E   minor; 
"  Liebesszene   und   Fortunas   Kugel," 
"Die    7    Todsunden,"    transcription; 
six  Beethoven   Songs  transcribed  for 
piano :    "  No.    1,   "  Mignon " ;    No.   2, 
"Mit  einem  gemalten  Bande";  No.  3, 
"FreudvoU    und   LiedvoU";     No.    4, 
"  Ea  war  einmal  ein  KSnig  " ;    No.  5, 
"  Wonne  der  Wehmut ";    No.  6,  "  Die 
Trommel  geruhret " ;   Songs  by  Robert 
Franz,  transcribed  for  piano ;  10  songs 
by  Robert  and  Clara  Schumann,  tran- 
scribed   for    piano ;     "  Neue    Liebe " 
(Mendelssohn),  transcription;    Phan- 
tasie  und  Fuge  on  the  chorale  "  Ad 
nos,    ad    salutarem    undam,"    Meyer- 
beer's   "  Prophete  " ;     Phantasiestttck 
on  a  motif  from  Wagner's  "  Rienzi  " ; 
Reiselied     (Mendelssohn)     transcrip- 
tion; "Der  Blinde  Sanger"  (after  A. 
Tolstoi ) ;    Senate  in  B  minor ;    Sonn- 
tagslied      (Mendelssohn),     transcrip- 
tion;    Spinnerlied,   transcribed   from 
Wagner's     "  Fliegende     Hollander " ; 
Suleika     und     Winterlied      (Mendel- 
ssohn), transcription;    Eine  Sympho- 
nic zu  Dantes  Divina  Commedia,  two 
4-  and  8-hand  arrangements;  Trauer- 
Vorspiel  und  Traeuer-marsch ;  Le  Tri- 
omphe  funebre  du  Tasse,  epilogue  to 
the  symphonic  poem  Tasso.     Orches- 
tral music  includes  the  Concerto  Pa- 
thetique, the  12  symphonic  poems  ar- 
ranged   for   grand   orchestra,    "  Eine 
Symphonic   zu   Dantes    Divina    Com- 
media," and  "  Le  Triomphe  du  Tasse." 
Vocal  music  includes  Mass  for  four 
equal   voices,    C  minor,  with   organ; 
"  Nun  danket  AUe  Gott,"  choral  with 
organ,  trompets,  etc.;    Pater  Noster 
for  four  equal  voices  for  use  in  the 
Roman  Catholic  ritual,  Ava  Maria  for 
four     equal     voices ;     "  Der     Blinde 
Sanger,"  for  voice  with  "  melodramatic 
piano    accompaniment,"    The    Divina 


LISZT                      336  LISZT 

Commedia    Symphony   for   grand   or-  stimme    komponiert   von    Felix   DrS,- 

ohestra  and  •women's  choir;    and  Zur  secke.     Fiir  das  Pianoforte  allein  u. 

Trauung.    The  works  quoted  are  from  mit      Deklamation      melodramatisoh 

the    Breitkopf    &    Hartel    catalogues,  bearb.    v.    Franz    Liszt.      Technische 

which  may  be   supplemented  by   the  Studien:  I.    Ubungen  zur  Kraftigung 

following  titles  quoted  from  the  Sehu-  und    Unabhangigkeit     der    einzelnen 

berth  edition   (Leipsic)  :    Piano  solo:  Finger   bei    stillstehender   Hand   und 

Eine    Faust-Symphonie.      Klavieraus-  Akkordstudien.      II.      Vorstudien   zu 

zug   zu   zwei   Handen.     Eine    Faust-  den  Dur-  u.  Mollskalen.    III.    Skalen 

Symphonie.    No.  II.  Gretchen.    Tran-  in  Terzen-  u.  Sextenlage.    Springende 

skription.    Zwei  Episoden  aus  Lenaus  oder     durchbrochene     Skalen.       IV. 

Faust:    No.  1.     Der  naohtliche  Zug;  Chrom.  Skalen  und  tjbungen.    Skalen 

No.  2.     Mephisto-Walzer.     Missa  so-  der  Gegenbewegung.    V.    Repetierende 

lennis.     Graner  Festmesse  in   D-dur.  Terzen,    Quarten    u.    Sexten   m.    ver- 

Ungarische  KrSnungsmesse.     Benedio-  schiedenem  Fingersatz.     Skalenartige 

tus     daraus.       Oflertorium     daraus.  Terzenubungen   i.   gerader   Bewegung 

Ungarische  KrSnungsmesse.     Klavier-  u.  i.  d.  Gegenbewegung.     Quarten-  u. 

Auszug  zu  zwei  Handen  Von  August  Sextenilbungen.    VI.    Dur-,  Moll-  und 

Stradal.      Andante    und    Finale    aus  ohromatische   Skalen   in   Terzen   und 

Konig  Alfred    (Joachim    Rail).     La  Sexten.    VII.    Sext-Akkord-Skalen  m. 

Fiancee     (Auber).      Grosse    Konzert-  verschiedenem  Fingersatz.    Springende 

fantasie.     Einsam  bin  ich,  nicht  al-  od.   durchbrochene   Skalen  i.   Terzen, 

leine.    Weber's  Preciosa.    Sonnambula  Sexten  u.  Sextakkorden.  Chrom.  Ter- 

( Bellini).      Grosse     Konzertfantasie.  zen,    Quarten,    Sexten-    u.    Oktaven- 

Filnf  Marsehe.    (Marsch- Album.)    No.  Skalen.     VIII.     Gebrochene  Oktaven. 

1.      Coburger    Fest-Marsch.      No.    2.  Springende  oder  durchbrochene  Oktav- 

Goethe-Fest-Marsch.    No.  3.    Rak6czy-  Skalen.      Akkordstudien,    Triller    in 

Marsch.    No.  4.    Tscherkessen-Marsch.  Terzen,  Sexten,  Quarten  und  Oktaven. 

No.  5.    Ungariacher  Marsch.    Album-  IX.     Verminderte   Septimen-Akkorde. 

blatter.      (2   Feuilles   d' Album.)      El  Ubungen    bei     stillstehendem    Hand- 

Contrabandista.    Rondeau  fantastique  halt.    Arpeggien  oder  gebrochene  Ak- 

sur  un  thgme  espagnol.     Gaudeamus  korde.     X.     Gebrochene  Akkorde  m. 

igitur.     Humoreske.     God    save    the  veraehied.   Fingersatzen  d.   alle   Dur- 

Queen.     Vierte  grosse   Konzert-Para-  u.    MoU-Skalen.     XI.     Arpeggien   in 

phrase.    Marsch  aus  "  Konig  Alfred  "  Terzen  und  Sexten  mit  verschiedenem 

(Joachim    Raflf).      La    Marseillaise.  Fingersatz.      XII.      Oktaveniibungen 

Transcription.     Konzert-Transkrip-  mit  verschiedenem  Fingersatz  und  Ak- 

tionen  uber  10  geistliche  Lieder  von  kordilbungen.    Eine  Faust-Symphonie. 

Beethoven    u.    Schubert.      Beethoven.  Klavierauszug  zu  zwei  Handen.     Die 

No.   1.   Gottesmaeht.     No.   2.   Bitten.  Allmacht  von   Franz   Schubert.     Die 

No.  3.  Busslied.     No.  4.  Vom  Tode.  Glocken    des    Strasaburger   MUnsters. 

No.   5.   Liebe   des  Nachsten.     No.   6.  Missa  solennis.     Graner  Festmesse  in 

Ehre  Gottes  in  der  Natur.     Schubert.  D-dur.    Ungarische  Kronungsmease  in 

No.  1.    Litanei.    No.  2.  Himmelsfun-  Es-dur.    Der  18.  Psalm.    Piimo,  four 

ken.     No.   3.     Die  Gestirne.     No.  4.  hands:  Eine  Faust-Symphonie  in  drei 

Hymne.    Beethovens  Septett  (Op.  20).  Charakterbildern.     (Nach  Goethe.)    I. 

Fiir    das    Pianoforte    tibertragen   von  Faust.    II.  Gretchen.     III.  Mephisto- 

Franz    Liszt.      Hummel,    Septett    in  pheles  und  Sehlusschor:  "AUes  Ver- 

D_-moll   (Op.  74).    Neue  Ausgabe  fur  gangliche    ist    nur    ein    Gleichniss." 

Pianoforte    von    Franz    Liszt.      John  Zwei  Episoden  aus  Lenaus  Faust :   No. 

Field,  Dix-huit  Nocturnes.     Revidiert  1.     Der  nachtliche  Zug.     No.  2.    Me- 

und  mit  einem  Vorwort  versehen  von  phisto-Walzer.    Ungarische  Kronungs- 

Franz    Liszt.      Zwei    Lieder    von    R.  mesae.     Benedictus   daraus.     Oflferto- 

Sehumann.     An  den  Sonnenschein  u.  rium  daraus.    Missa  solennis.    Graner 

Rothes  RSslein.    Helges  Treue.     Bal-  Festmesse  in  D-dur.  Ungarische  Rh^p- 

lade  von  Strachwitz  fiir  eine  Bariton-  sodien:    No.  I  in  F.     No.  Ill  in  D. 


LISZT 


337 


LITOLEF 


No.  IV  in  D.     No.  V  in  E.      (The  Ungarische     Kronungsmease.       Bene- 

other     Hungarian     Khapsodies     are:  dictus    daraus.      Offertorium   daraus. 

No.  II  in  P  sharp,  No.  VI  in  D  flat,  Gretchen    aus    der    Faust-Symphonie. 

No.  VII  in  D  minor.  No.  VIII  Capric-  Violin  and  Organ:   Ungarische  Kron- 

cio.  No.  IX  E  flat,  No.  X  Pruludio,  ungsmesse.  Benedictus  daraus.  Offerto- 

No.   XI   in  A  minor,   No.   XII  in   C  rium    daraus.      Zusammen   in    einem 

sharp  minor,  also  with  violin  part  by  Hefte. 

Joachim;    No.  XIII  in  A  minor,  No.  L'istesso.    It.    The  same. 

XIV  in  F  minor,  and  No.  XV  EakSczy  Litany.      Solemn    supplication    or 

Marsch.)      Fiinf  Marsche.      (Marsch-  prayer  in  which  the  petition  is  ofltered 

Album.)        No.     1.     Coburger    Fest-  by  the  priest  and  response  is  made  by 

Marsch.     No.  2.    Goethe-Fest-Marsch.  the  choir  or  congregation.    The  Greek 

No.     3.     RakSczy-Marsch.        No.     4.  Church  was  probably  first  to  make  use 

Tscherkessen-Marsch.      No.     5.     Un-  of  the  litany,  as  the  words  "  Kyrie 

garischer    Marsch.      Excelsior.      Pra-  eleison"  are  retained  in  the  ritual  of 

ludium  "  Die  Glocken  des  Strassburger  the    Roman    Catholic    Church.      The 

Munsters."     Gaudeamus  igitur.     Hu-  Litany  of  Loreto  was  originally  sung 

moreske.      Sonnambula    von    Bellini,  to  the   Plain  Song  melody  still  em- 

Grosse     Eonzert-Fantasie.        Grande  ployed  in  Italian  churches,  but  was 

valse  de  bravoure  in  B.     John  Field,  composed    by    Orlandus    Lassus,    ten 

Nocturnes.      No.     1-9    komplet    von  times  by   Palestrina,   as   well  as   by 

Franz  Liszt.    Beethovens  Septett,  Op.  many  other  composers.     An  English 

20,  ubertragen  von  Franz  Liazt.    For  version  of  the  Litany  appeared,  with- 

two  pianos:    Rak6zcy-Marsch.     Aus-  out  music,  five  years  before  the  pub- 

gabe   zu  vier   Handen.     Ausgabe   zu  lication   of   the   First   Prayer    Book, 

acht  Handen.     Grandes  Variations  de  and  is  attributed  to  Archbishop  Cran- 

Concert    (Hexameron)    sur  un  th6me  mer.      A    second   publication,    issued 

des  "  Puritains  "  von  Thalberg,  Herz,  June  16,  1544,  is  supposed  to  give  the 

Pixis,     Czemy,     Chopin     und    Liszt.  Plain   Song  authorized  by   Cranmer. 

CPrinzessin  di  Belgiojoso  gewidmet.)  There  are  numerous   settings  of  the 

Organ    or    Harmonium    and    Piano:  English  Litany,  but  the  tendency  in 

Kompositionen   von   Joh.    Seb.    Bach,  the  Anglican  Church  in  recent  years 

Kevidiert  und  mit  Beitragen  versehen  has  been  to  revert  to  Plain  Song,  and 

von  Franz  Liszt.     No.   1.  Einleitung  the  Sarum  version  is  being  extensively 

und    Fuge    aus    der    Motette:     "Ich  used. 

hatte    viel    BekUmmernis."      No.    2.  Litolff  (Henry  Charles)  composed 

Andante :  "  Aus  tiefer  Noth  schrei  ich  the  oratorio  "  Ruth  et  Boaz,"  1869 ; 

zu  dir."     No.  3.  Praludium.     No.  4.  a   violin   concerto,   "  Spinnlied,"   and 


Thema  und  Variationen.  No.  5. 
Adagio  aus  der  4.  Violinsonate.  No. 
6.  Praludium  und  Fuge.  No.  7.  Pas- 
sacaglia.  No.  8.  Fuga  (Ricercata). 
No.  9.  Arie  aus  der  Johannes-Passion 


other  piano  pieces;  operas,  including 
"Les  Templiers,"  Brussels,  1886; 
played  piano,  touring  Europe  with 
success.  A  marriage  at  17  com- 
pelled  Litolff   to   leave   his   home   in 


"  Ach  mein  Sinn."  No.  10.  Kyrie  aus  London.  By  a  second  marriage  he 
einer  der  "Vier  kurzen  Missen."  No.  came  into  the  publishing  business 
12.  Trio.  No.  13.  Trio.  No.  14.  owned  by  the  widowed  Frau  Meyer, 
Arie.  A.  W.  Gottschalg's  Repertorium:  in  Brunswick.  On  her  death  he  set- 
fur    Orgel,    Harmonium    oder    Pedal-  tied    in    Paris,     marrying    Countess 


de     Larochefoucauld.      B. 
1818,     London;     d.     Aug. 


Feb.     6, 
6,     1891, 


flUgel    unter    Revision   und   mit   Bei- 
tragen von  Franz  Liszt.     Enthaltend  -.i-  i,  j   j-i. 
Werke   von  Bach,   Beethoven,   Bohm,    near  Pans.     Theodor  published  the 

"'       Collection  Litolff,  consisting  of  classic 

music  at  popular  prices.  Adopted 
son  of  HENRY  CHARLES,  he  suc- 
ceeded him  in  the  publishing  business, 
1860. 


Chopin,  Handel,  Liszt,  Loffler,  Mo 
zart,  Palestrina,  Raff,  Ritter,  Schu- 
bert, Stehle,  Sulze,  Weber.  Vtohn 
and  Piano:  Rhapsodic  Hongroise. 
(Violinstimme     von     J.     Joachim.) 


22 


LITtTTJS 


338 


LOCKE 


Lituus.  L.  J-shaped  trumpet  of 
ancient  Roman  cavalry. 

Liuto.    It.    Lute. 

Liverpool  Kusical  Festivals  were 
held  at  irregular  intervals  from  1784, 
the  last  taking  place  1874.  Sir  George 
Smart  conducted  the  first  performance 
in  English  of  Mendelssohn's  "  St. 
Paul,"  1836.  Alfred  Mellon,  Sir  Jul- 
ius Benedict,  Max  Bruch,  Sir  Charles 
Hall€,  and  Dr.  F.  H.  Cowen  have  been 
conductors  of  the  Liverpool  Philhar- 
monic Society,  which  was  founded 
1848  and  gives  12  annual  concerts. 

Lloyd  (Dr.  Charles  Harford)  com- 
posed incidental  music  for  the  Grreek 
play  "  Alcestis,"  the  cantatas  "  Hero 
and  Leander,"  "  Song  of  Balder," 
"Andromeda,"  for  soli,  chorus,  and 
orchestra,  the  "  Longbeards'  Saga," 
male  chorus  and  piano;  "A  Song  of 
Judgment,"  "  Sir  Ogie  and  Lady 
Elsie,"  "A  Hymn  of  Thanksgiving," 
the  motet  "  Souls  of  Righteousness," 
Gloucester,  1901;  services,  anthems, 
part  songs,  organ  sonata  in  D,  organ 
concerto  in  F  minor;  founded  "Ox- 
ford University  Musical  Club,"  of 
which  he  was  first  president;  played 
organ  Gloucester  Cathedral;  Christ 
Church  Cathedral;  taught  Royal  Col- 
lege of  Music;  edited  new  edition  of 
"Church  Hymns."  B.  Thornbury, 
Gloucestershire,  Oct.  16,  1849;  add. 
Oxford. 

Lloyd  (Edward)  created  the  ten. 
rOles  in  "Martyr  of  Antioch,"  "The 
Redemption,"  "  Mors  et  Vita,"  "  Rose 
of  Sharon,"  "  Golden  Legend,"  "  Saint 
Ludmilla,"  "  Judith,"  "  The  Swan  and 
the  Shylark,"  "  King  Saulr"  "  Carac- 
tacus,"  and  "The  Dream  of  Geron- 
tius  " ;  was  the  greatest  festival  tenor 
in  the  world  from  the  1871  "  Glouces- 
ter Festival "  to  his  retirement  in 
1900.  In  1888  Lloyd  made  his  first 
American  appearance  at  the  Cincin- 
nati Festival,  afterwards  touring 
America  with  great  success.  He  was 
a  chorister  in  Westminster  Abbey  in 
boyhood,  and  pupil  of  James  Turle. 
His  voice  changed  to  tenor  without 
breaking,  and  in  1869  he  became  a 
Gentleman  of  the  Chapel  Royal;  B. 
Mar.  7,  1845;    add.  London. 

Lo.    /*.    The. 


Lobe  (Johann  Christian)  com- 
posed the  operas  "'Wittekind,"  "  Die 
Filibustier,"  "  Die  Furstin  von  Gra- 
nada," "  Der  rote  Domino,"  "  K6nig 
und  Pachter,"  all  performed  at  Wei- 
mar, where  he  played  solo  flute  in  the 
ducal  orchestra;  two  symphonies; 
wrote  on  music.  B.  Weimar,  May  30, 
1797;    d.  July  27,  1881,  Leipsic. 

Lobgesang.    Oer.    Hymn  of  praise. 

Lobkowitz,  von  (Prince  Ferdi- 
nand Philip)  was  the  friend  and  pa- 
tron of  Gluok,  and  accompanied  that 
composer  to  the  coronation  of  Fran- 
cis I,  and  afterwards  to  England. 
Burney  says  he  composed  a  symphony 
with  C.  P.  E.  Bach,  each  adding  a 
bar  alternately.  B.  April  17,  1724, 
Prague;  d.  Jan.  11,  1784,  Vienna. 
Prince  Josef  Franz  Maximilian  di- 
rected the  Vienna  Court  Opera,  1810- 
12;  was  the  friend  and  patron  of 
Beethoven,  who  abused  him  for  not 
paying  his  annuity  of  700  florins  in 
full  at  a  time  when  he  was  bankrupt, 
but  later  acknowledged  his  error  by 
dedicating  the  Liederkreia  to  him; 
helped  found  the  GESELLSCHAFT 
DER  MUSIKFREUNDE;  played  vio- 
lin and  'cello;  sang  bass  in  "Alex- 
ander's Feast "  at  the  second  Vienna 
performance.  B.  Dec.  7,  1772;  son 
of  PRINCE  FERDINAND  PHILIP; 
d.  Dec.  16,  1816,  Vienna. 

Locatelli  (Pietro)  composed  son- 
atas and  concertos  for  violin  on  which 
he  became  a  famous  virtuoso,  obtain- 
ing effects  in  double-stops  by  altering 
the  tuning  of  his  strings,  a  practice 
Paganini  afterwards  imitated;  pupil 
of  Corelli.  B.  1693,  Bergamo;  d. 
April   1,  1764,  Amsterdam. 

Locke  (Matthew)  composed  music 
for  Shirley's  "Cupid  and  Death" 
(with  C.  Gibbons),  Davenant's  "Siege 
of  Rhodes,"  for  the  Dryden-Davenant 
version  of  "The  Tempest,"  possibly 
for  Davenant's  mutilation  of  "  Mac- 
beth," and  songs,  psalms;  wrote 
"  Melothesia,"  the  first  English  book 
giving  rules  for  Continued  Baas,  con- 
sorts for  viols;  became  composer  to 
Charles  II  of  England;  pupil  of  Wil- 
liam Wake,  and  friend  of  Purcell, 
who  composed  an  elegy  on  his  death. 
B.  1630,  Exeter;    d.  1677,  London. 


LOCKEY 


339 


LOGIEB 


Iiockey  (Charles)  sang  ten.  in  first 
performance  of  "  Elijah "  and  in  the 
Eng.  Chapel  Royal;  vicar-choral  St. 
Paul's  Cathedral.  B.  Mar.  23,  1820, 
Thatcham;    d.  Dec.  3,  1901,  Hastings. 

Loco.  /*.  "Place."  The  term  can- 
cels All'  Ottava,  and  in  violin  music 
the  shift  to  a  higher  position. 

liocrian.     Hyperdorian  MODE. 

Loder  (Fanny  Kate)  composed  the 
opera  "  L'Elisir  d'Amore,  an  over- 
ture, two  string  quartets,  sonata  for' 
violin  and  piano;  taught  in  Royal 
Academy  of  Music,  in  which  she  had 
been  a  pupil.  B.  1825,  Bath;  m. 
Sir  Henry  Thompson,  1851;  d.  Aug. 
30,  1904,  London. 

Iioder  (John  David)  published  mu- 
sic in  Bath;  led  at  Three  Choir  Fes- 
tivals and  Ancient  Concerts;  taught 
Royal  Academy  of  Music;  wrote 
"Violin  School,"  "Modern  Art  of 
Bowing,"  "  General  and  Comprehen- 
sive Instruction  Book  for  the  Violin." 
B.  1788,  Bath;  d.  Feb.  13,  1846,  Lon- 
don. Edward  James  composed  "  The 
Night  Dancers,"  Princess  Theatre, 
London,  1846;  "Raymond  and  Agnes," 
Manchester,  1855,  other  dramatic 
pieces;  "The  Diver,"  "The  brave  old 
oak,"  and  other  popular  songs,  string 
quartets;  conducted  at  Princess  The- 
atre and  in  Manchester.  B.  1813, 
Bath;  son  of  JOHN  DAVID;  d. 
April  5,  1865.  John  Fawcett  man- 
aged concerts  and  played  violin  at 
Bath;  led  in  London  concerts  and 
at  various  festivals.  B.  1812,  Bath; 
son  of  JOHN  DAVID;  d.  April  16, 
1853. 

liodoiska.  M.  Luigi  C.  Z.  S.  Cheru- 
bini's  three-act  opera,  to  book  by 
Fillette-Loreaux,  was  first  performed 
July  18,  1791,  at  the  Theatre  Fey- 
deau,  Paris.  Rodolphe  Kreutzer'a 
opera  on  the  same  subject,  to  book 
by  Dejaure,  was  performed  Aug.  1, 
1791,    at    the   Theatres    des    Italiens, 

Loefller  (Charles  Martin)  com- 
posed the  symphonic  poem  "  The  Death 
of  Tintagiles,"  the  suite  for  violin  and 
orchestra,  "  Les  Veill6es  de  I'Ukraine," 
fantastic  concerto  for  'cello  and  or- 
chestra, divertimento  in  A  minor  for 
violin  and  orchestra;    the  symphonic 


poems  "  Vilanelle  du  diable "  and 
"  Avant  que  tu  ne  t'en  allies  ";  played 
violin  Boston  Symphony  Orchestra, 
resigning  1903  to  devote  himself  to 
composition;  pupil  of  Leonard,  Maa- 
sart,  and  Joachim  for  the  violin,  and 
of  Guiraud  and  Kiel  for  composition. 
B.  Jan.  30,  1861,  Milhlhausen,  Alsatia; 
add.  Boston. 

Loeillet  (Jean  Baptiste)  composed 
four  sonatas  for  solo  flute;  12  smtes 
of  lessons  for  harpsichord,  12  sonatas 
for  violins,  German  flutes,  and  com- 
mon flutes;  played  and  taught  flute 
in  London.  B.  Ghent  about  1675; 
d.   1728j  London. 

Xoeschhorn  (Albert)  composed 
piano  €tudes,  sonatas,  and  string  quar- 
tets; royal  professor,  1851;  taught 
piano  Berlin  Institute  for  Church 
Music,  where  he  had  been  a  pupil. 
B.  Berlin,  June  27,  1819;  d.  June  4, 
1905,  Berlin. 

Loewe  (Johann  Carl  Gottfried) 
composed  "  Edward,"  "  The  Erl-king," 
and  other  ballads,  which  have  recently 
had  a  revival  of  popularity ;  "  Die 
drei  Wunsche"  and  four  other 
operas ;  "  Die  Apostel  von  Philipi " 
and  other  oratorios;  cantor  and  pro- 
fessor at  Stettin  and  organist  at  St. 
Jacobus.  B.  Nov.  30,  1796,  Loebe- 
juen,  near  Halle;  d.  April  20,  1869, 
Kiel. 

Loewe  (Johanna  Sophie)  sang 
sop.  in  opera,  debut  1832  at  the  court 
theatre,  Vienna,  Berlin,  London, 
Paris,  and  Milan,  retiring  1848,  on  her 
marriage  to  Prince  Lichtenstein.  B. 
Mar.  24,  1816,  Oldenberg;  d.  Nov.  29, 
1866,  Pest. 

Loewenstern,  von  (Hatthaeus 
Apelles)  composed  "Mein  Augen 
sehliess  ich  jetzt"  and  other  hymns, 
choruses  for  the  drama  "  Judith  " ; 
directed  church  music  at  the  court 
of  Oels-Bernstadt;  ennobled  by  Em- 
peror. Ferdinand  II.  B.  Neustadt, 
Upper  Silesia,  April  20,  1594;  son 
of  the  saddler  Loewe;  d.  April  16, 
1648,  Bernstadt. 

Logeum.    L.    Stage. 

Logier  (Johann  Bernard)  invented 
the  CHIROPLAST;  wrote  a  text-book 
on  Thoroughbass,  "  Complete  Intro- 
duction to  the  Keyed  Bugle,"  which 


LOGBOSCIITO 


340 


LOHEiraBIN 


he  is  said  to  have  invented;  composed 
sonatas  for  piano;  published  music 
in  Dublin;  played  organ;  conducted. 
B.  1780,  Kaiserslautern,  Palatinate; 
d.  July  27,  1846,  Dublin. 

Logroscino  (Ificola)  composed 
"  L'inganno  per  inganno,"  "  Le  Gri- 
eelda,"  and  in  all  20  successful  comic 
operas  in  Neapolitan  dialect;  the  seri- 
ous opera  "  Giunio  Bruto,"  church 
music ;  called  "  the  God  of  Opera 
Bufifa " ;  taught  counterpoint,  Pal- 
ermo Conservatory;  pupil  of  Durante 
at  the  Conservatorio  di  Loreto,  Naples. 
B.  about  1700,  Naples;  d.  about  1763, 
Naples. 

Lohengrin.  Richard  Wagner's 
three-act  romantic  opera,  to  his  own 
book,  was  first  performed  Aug.  28, 
1850,  at  Weimar,  under  the  direction 
of  Liszt.  Henry  the  Fowler,  King  of 
Germany,  holds  court  in  Brabant, 
where  he  is  levying  troops  to  repel  an 
invasion  of  the  Hungarians.  Gott- 
fried, young  son  of  the  late  Duke  of 
Brabant,  has  mysteriously  disap- 
peared, and  his  sister  Elsa  is  accused 
of  having  murdered  him  by  Count 
Frederick  of  Telramuud,  who  has  been 
instigated  to  make  the  charge  by  his 
wife,  Ortrud,  and  Telramund  asserts 
his  own  claim  to  the  duchy,  as  next 
of  kin.  A  trial  by  arms  is  appointed 
by  the  King,  but  none  of  the  nobles 
of .  Brabant  oppose  Telramund.  Elsa, 
however,  describes  a  mysterious 
knight  she  has  seen  in  a  vision,  whom 
she  prays  to  appear  in  her  behalf,  and 
then  the  hero  is  seen  on  the  Scheldt, 
in  a  boat  drawn  by  a  swan.  Elsa 
recognizes  the  knight  of  her  dreams 
when  he  lands,  and  readily  agrees  to 
the  conditions  upon  which  he  will 
defend  her:  first,  that  she  will  be- 
come his  wife;  second,  that  she  will 
never  ask  his  name  or  lineage.  The 
combat  results  in  the  defeat  and  dis- 
grace of  Telramund.  In  the  second 
act  Ortrud  plans  revenge,  and  inspires 
Telramund  to  aid  her.  Ortrud  pleads 
with  Elsa  for  protection,  and  begins 
at  the  same  time  to  arouse  in  her  a 
distrust  for  her  champion.  In  the 
morning,  as  Elsa  and  her  knight,  now 
Guardian  of  Brabant,  are  about  to 
enter   the   church,   Ortrud   stops   the 


bridal  procession,  claims  precedence 
by  right  of  superior  rank,  and  Telra- 
mund accuses  the  mysterious  knight 
of  sorcery.  Elsa  remains  true  to  her 
pledge  not  to  ask  the  name  or  descent 
of  her  protector,  the  conspirators  are 
thrust  aside,  and  the  cortSge  enters 
the  church.  The  third  act  reveals  the 
bridal  chamber.  Elsa,  overcome  by 
curiosity  and  distrust,  demands  to 
know  her  husband's  secret.  Telra- 
mund, who  has  meant  to  murder 
the  knight,  breaks  into  the  bridal 
chamber,  but  is  slain,  and  then,  plac- 
ing Elsa  in  charge  of  her  ladies,  her 
husband  directs  that  she  be  taken  be- 
fore the  King,  and  in  the  presence  of 
the  court  he  tells  his  name  and  rank. 
He  is  Lohengrin,  Knight  of  the  Holy 
Grail,  and  son  of  Parsifal.  Free  to 
remain  with  men  so  long  as  he  shall 
be  unknown,  and  invulnerable  to  vil- 
lany,  he  must  now  return  to  Mon- 
salvat.  The  swan  boat  is  seen  ap- 
proaching as  he  sings.  Lohengrin 
takes  a  golden  ring  from  the  swan's 
neck,  which  he  presents  to  Elsa  with 
his  sword  and  horn,  but  as  he  prepares 
to  depart,  Ortrud  confesses  that  the 
swan  is  Gottfried,  whom  she  had  be- 
witched, but  who  would  have  been 
restored  but  for  his  sister's  curiosity. 
At  this  Lohengrin  offers  a  prayer  to 
heaven,  unchains  the  swan,  which  dis- 
appears beneath  the  waters,  and  ia 
replaced  by  Gottfried.  The  boy  rushes 
to  his  sister,  who  faints  in  his  arms 
as  a  dove  descends  and  draws  away 
the  boat  containing  Lohengrin.  The 
original  cast  included:  Lohengrin, 
Beck,  ten.;  Telramund,  Milde,  bar.; 
King  Henry,  Hofer,  bass;  Elsa,  Frau 
Agathe,  sop.;  Ortrud,  Frl.  Fast- 
linger,  con.  The  principal  musical 
numbers  are  the  lovely  vorspiel  or 
prelude.  Act  I :  "  Zum  Sterben  kam 
der  Herzog  von  Brabant,"  Telramund; 
"  Einsam  in  triiben  tagen"  (Blsa'a 
Dream )  ;  "  Nun  sei  gedankt,  mein 
lieber  Schwan,"  Lohengrin;  "Nie 
solldt  du  mich  befragen,"  Lohengrin; 
"  Mein  Herr  imd  Gott,  nun  ruf  ich 
Dich,"  Henry,  leading  into  a  finale 
for  sextet  and  chorus ;  Act  II :  "  Er- 
hebe  dich,  Genosin  meiner  Schmach," 
Telramund  and  Ortrud;   "  Euch  Lflf- 


LOHET                        341  LOOSESCOBE 

ten,  die  mein  Klagen,"  Elaa;    "Den  were  the  conductors.     London  Phll- 

dort   im  Glanz,"  Telramund;    "Heil,  harmonic      Society     was      founded 

Elsa  von  Brabant,"  chorus;    Act  III:  1813  by  J.   B.  Cramer,  P.  A.  Corri, 

"  Treulich     gefuhrt,  .  ziehet     dahin "  and    W.    Dance    to    give    orchestral 

(Bridal  chorus);   "In  fernem  Land,  and    instrumental    subscription    con- 

unnahbar    euren    Schritten,"    Lohen-  certs,  a  purpose  ever  since  worthily 

grin;    "O    Elsa!    nur    ein    Jahr    an  fulfilled.      Among    the    most    notable 

deiner  Seite,"  Lohengrin.  foreign  composers  who  have  directed 

Lohet    (Simon)    composed   fugues,  their   own   works   at   these   concerts, 

canzona,  and  two  arrangements  of  the  often  expressly  composed  for  the  oc- 

Plain    Song    "Media    vita    in    morte  casion,   have  been   Cherubini,   Spohr, 

sumus,"  for  organ,  highly  praised  by  Weber,  Mendelssohn,  Hiller,  Wagner, 

Ritter;    court  organist  at  Stuttgart,  and  Gounod.    Beethoven  composed  for 

1571.     D.  about  1611.  it,  and  was  its  beneficiary.     The  So- 

liOhse   (Otto)  composed  the  opera  ciety  has   a  ■  large  library,   has  pub- 

"  Der  Prinz  Wider  Willen,"  Cologne,  lished  its  documents  and  letters  from 

1898;     conducted     Damrosch     Opera  time  to  time,  and  its  earlier  history- 

Company,  New  York ;  Hamburg  Thea-  may  be  learned  from  "  The  Philhar- 

tre,    Covent    Garden,    London,    1901;  monio    Society    of    London    from    its 

Strasburg  City  Theatre.     M.  Katha-  Foundation,  1813,  to  its  50th  Year," 

rina  KLAFSKY;  add.  Strasburg.  George      Hogarth,      London,       1862. 

LoUi    (Antonio)    composed    violin  Iiondon    Sacred   Fhilliarmonic   So- 

concertos  and  sonatas;    played  violin  ciety  gave  concerts  from  1848  to  1856 

at  the  courts  of  the  Duke  of  Wtirtem-  in  Exeter  Hall,  London.    Mr.  Surman 

berg   and   Empress    Catherine    II    of  was  conductor. 

Russia;     toured  Europe  as  virtuoso.  Longa.     Note  in  obsolete  notation 

B.    About   1730,   Bergamo;     d.    1802,  equivalent  to  four  modern  whole  notes. 

Sicily.  Iiong  Drum.     Bass  DRUM. 

Xiomakln  (Oabriel  Toachimovich.)  Loughurst  (John  Alexander) 
helped  Balakirev  found  the  St.  Peters-  sang  boy's  parts  in  Covent  Garden 
burg  Free  School  of  Music,  1862;  ar-  opera  from  1820  to  1826,  when  his 
ranged  national  airs  and  church  voice  broke;  afterwards  taught  sing- 
music;  taught  singing.  B.  April  6,  ing  and  piano.  B.  1809,  London;  d. 
1812;    d.   1885,  Gatchina.  1855,  London.     Dr.  William  Henry 

Lombard!.     Giuseppe  Verdi's  four-  composed    the   oratorio    "  David    and 

act  opera,  to  book  by  Solera,  was  first  Absolom  " ;     served  as   chorister,   lay 

performed  Feb.  II,  1843,  at  La  Scala,  clerk,  organist,  and  master  of  ohor- 

Milan.  isters    at    Canterbury    Cathedral    for 

London,  the  capital  of  the  British  the   70  years   ending   1898.     B.   Oct. 

Empire  in  music  as  in  all  things  else,  6,    1819;    brother   of   JOHN   ALEX- 

was  the  seat  in  1908  of  the  ROYAL  ANDER;   d.   June   17,   1904,   Canter- 

ACADEMY  OF  MUSIC,  of  the  ROYAL  bury. 

COLLEGE  OF  MUSIC,  the  GUILD-  Longman    &    Broderip    published 

HALL  SCHOOL  OF  MUSIC,  and  of  music     and     manufactured     spinets, 

societies  for  the  cultivation  of  musical  harpsichords,  and  pianos  in  London, 

art,  most  of  which  are  here  described  1767-98. 

under   separate  titles.     Of   its  many  Lontano.     /*.     Distant, 

handsome  theatres  those  which  have  Loomis    (Harvey    Worthington) 

been    chiefly    identified    with    serious  composed    songs    and    piano    pieces; 

art    were    COVENT    GARDEN,    LY-  pupil  of  Dvorak  at  the  National  Con- 

CEUM,    DRURY   LANE,    the   HAY-  servatory.  New  York,  where  he  won 

MARKET,    etc.,   of   which    the    first-  the  three-year  scholarship,  1892.     B. 

named  was  devoted  to  opera  in  1908.  Feb.  5,   1865,  Brooklyn,  N.  Y.;    add. 

The  London  Musical  Society  gave  New  York. 

choral   and  orchestral   concerts   from  Loosemore     (Henry)     composed 

1878  to  1887.    Bamby  and  Mackenzie  church  music;    played  organ  King's 


LOBD   OF   THE   ISLES 


343 


LOiriSE 


College,  Cambridge.  D.  1670,  Cam- 
bridge. Dr.  George  composed  an- 
thems; played  organ  Trinity  Col- 
lege, Cambridge,  1660-82.  Son  of 
HENRY. 

Lord  of  the  Isles.  Henry  Gadsby's 
dramatic  cantata,  founded  on  Scott's 
poem,  was  first  performed  Feb.  13, 
1879,  at  Brighton,  Eng. 

Loreley.  F.  Lachner's  opera,  to 
book  by  Molitor,  was  first  performed 
1846  at  the  Munich  Court  Theatre. 
Max  Bruch's  opera  of  the  same  title 
was  produced  1864  at  Cologne.  Felix 
Mendelssohn's  opera  on  the  same  sub- 
ject was  left  unfinished  at  his  death 
in  1847. 

Lorenz  (Franz)  wrote  "  In  Sachen 
Mozart's,"  Vienna,  1851;  "Haydn, 
Mozart  und  Beethoven's  Kirchen- 
musik,"  and  other  books  on  musical 
topics;  practiced  medicine.  B.  April 
4,  1805,  Stein;  d.  April  8,  1883, 
Wien-Neustadt. 

Lorenz  (Julius)  composed  the 
opera  "  Die  Kekruten,"  overtures ;  con- 
ducted the  New  York  Arion,  1895; 
prior  to  that  date  the  Glogau  Sing- 
akademie.  B.  Oct.  1,  1862,  Hanover; 
add.  New  York. 

Lorle.  Alban  Foerster's  three-act 
opera,  to  book  by  H.  H.  Schefsky, 
based  on  Auerbach's  tale,  "  Die  Frau 
Professorin,"  was  first  performed 
June  18,  1891,  at  Dresden.  Among 
other  lieder  which  have  became  popu- 
lar in  Germany  it  contains  "  Hatt' 
ich  verlassen  nie  dich,  meine  Haiden," 
Bung  by  the  heroine. 

Lortzing  (Oustav  Albert)  com- 
posed "  Waflfenschmied "  or  "The 
Armorer,"  "CZAR  UND  ZIMMER- 
MANN,"  "Undine,"  and  other  suc- 
cessful operas;  the  oratorio  "Die 
Himmelf ahrt  Christi " ;  sang  ten.  and 
conducted.  Son  of  an  actor,  Lortzing 
led  the  wandering  life  his  father's 
profession  entailed,  but  managed  to 
pick  up  a  knowledge  of  the  most  im- 
portant instruments  in  the  orchestra. 
In  1822  he  settled  for  a  time  in  Co- 
logne, married,  and  produced  his  first 
operetta,  "  Ali  Fascha  von  Janina," 
1824.  In  1833  he  became  first  ten. 
of  the  Leipsic  Stadt  Theatre,  where 
he  remained  ten  years.     During  this 


period  he  composed  his  highly  popu- 
lar opera  dealing  with  the  adventures 
of  Peter  the  Great  and  "  Die 
Beiden  Schutzen."  In  1842  his  "  Wild- 
schvltz,"  based  on  Kotzebue's  play,  was 
favourably  received.  In  1844  he  was 
chapelmaster  for  a  year  at  the 
theatre,  next  produced  "  Undine," 
"Der  Waffenschmied"  (The  Ar- 
morer), which  led  to  his  appointment 
as  chapelmaster  at  the  Theater  an  der 
Wien,  Vienna.  After  brief  service  in 
Vienna  he  produced  his  "  Rolanda- 
knappen"  at  Leipsic,  but  subsequent 
works  failed,  and  in  1850  he  became 
conductor  of  the  Friedrich-Wilhelm- 
stadt  Theatre  in  Berlin.  B.  Oct, 
23,  1801,  Berlin;  d.  Jan.  21,  1851, 
Berlin. 

Lossius  (Lucas)  compiled  a  col- 
lection of  music  for  the  Lutheran 
Church,  published  in  Nuremberg,  1553, 
with  a  preface  by  Melancthon  under 
the  title  "  Psalmodia  hoc  est  Cantioa 
sacra  veteris  ecclesiae  selecta";  wrote 
on  theory.  B.  Vacha,  Hesse-Caaael, 
1508;    d.   1582,  LUneberg. 

Lo  Stesso  Tempo.  It.  At  the 
same  pace. 

Lotti  (Antonio)  composed  a  Mis- 
erere still  sung  at  St.  Mark's,  Venice, 
during  Holy  Week,  "  II  Giustino," 
"  Constantino,"  and  in  all  27  operas, 
madrigals,  songs,  masses;  played  or- 
gan and  became  chapelmaster  at  St. 
Mark's,  Venice;  received  $8000  aa 
compensation  for  himself  and  his  wife, 
the  singer  Santa  Stella,  for  a  year's 
engagement  at  Dresden,  1717;  rivalled 
Porpora  as  a  composer  and  conductor. 
B.  about  1667,  Venice;  '  d.  Jan.  5, 
1740,  Venice. 

Lottini  (Antonio)  sang  bass  in 
London  Italian  opera  under  Handel, 
1737-38. 

Louise.  Gustavo  Charpentier's 
four-act  opera,  to  his  own  book,  was 
first  performed  Feb.  2,  1900,  at  the 
Paris  Op6ra  Comique.  Louise,  a  Paris 
working  girl,  loves  Julien,  a  singer, 
who  urges  her  to  elope  with  him,  since 
her  parents  will  not  permit  them  to 
marry.  The  mother  interrupts  their 
courtship,  dismisses  the  lover,  and 
gives  Louise  a  scolding.  The  father 
returns.     He   has   received   a   letter 


I.OTTISE 


343 


LOWE 


from  Julien,  with  whom  he  is  inclined 
to  be  in  sympathy,  but  the  violent 
opposition  of  the  mother,  based  upon 
Julien's  bad  reputation,  settles  the 
matter,  and  Louise  is  obliged  to  prom- 
ise her  father  she  will  see  Julien  no 
more.  Julien,  in  the  next  act,  plana 
to  abduct  Louise,  waylays  her  as  she 
goes  to  her  work,  and  again  begs  her 
to  run  away  with  him,  but  she  re- 
fuses. A  change  of  scene  reveals  the 
interior  of  a  dressmaking  establish- 
ment. The  chatter  of  the  girls  is  in- 
terrupted by  Julien,  singing  a  sere- 
nade to  the  accompaniment  of  his 
guitar.  The  other  girls  are  delighted, 
but  when  Louise  does  not  appear 
Julien  breaks  the  strings  of  his  in- 
strument and  is  silent.  Louise  pro- 
fesses to  have  become  suddenly  ill, 
and  leaves,  but  her  companions,  look- 
ing from  the  window,  see  her  going 
ofif  with  Julien.  In  the  third  act 
Julien  and  Louise  are  shown  in  a 
garden  on  the  heights  of  Montmartre. 
Julien  pleads  his  love,  the  right  of 
individual  choice;  Louise  defends  her 
parents,  but  is  at  last  convinced  that 
it  is  right  for  her  to  unite  her  life 
with  that  of  Julien.  Then  Julien's 
friends  arrive,  and  there  is  a  scene 
of  festivity  as  they  crown  Louise 
"  Muse  of  Montmartre."  The  Mother 
comes,  and  the  guests  depart.  Louise, 
hearing  that  her  father  is  seriously 
ill,  consents  to  return  home,  promis- 
ing Julien  she  will  return.  In  the 
fourth  act  Louise  hears  her  father 
declaim  against  the  ingratitude  of 
children,  and  listens  to  her  mother's 
tirade  against  Julien  while  she  helps 
her  in  the  kitchen,  but  she  still  pines 
for  freedom  and  her  lover.  Enraged 
at  last,  the  Father  drives  her  from  the 
house,  only  to  bitterly  repent  the 
moment  she  has  gone.  The  original 
caste  included  Julien,  Margchal,  ten.; 
The  Father,  Fug6re,  bar.;  Louise, 
Mile.  Marthe  Eiton,  sop. ;  The  Mother, 
Mme.  Deschamps-Jehin,  mez.  sop. 
The  remaining  characters  with  singing 
parts  range  from  rag  pickers,  street 
sweepers,  and  sewing  girls  to  a 
painter,  a  philosopher,  an  old  Bohe- 
mian, a  Night  Walker,  and  Master 
of  the  Revels. 


Iiouis  Ferdinand  (Prince  of  Prus- 
sia) composed  quintets,  quartets,  and 
other  chamber  music ;  played,  "  not 
like  a  prince,  but  like  a  pianist,"  ac- 
cording to  Beethoven;  was  the  friend 
and  patron  of  Dussek,  and  an  even 
better  musician  than  his  uncle,  Fred- 
erick the  Great.  B.  Nov.  18,  1772; 
killed  Oct.  13,  1806,  in  battle  at 
Saalfield. 

LouliS  (Etienne)  wrote  "Elemei^ts 
ou  Principes  de  Musique,"  Paris, 
1696,  which  contains  a  picture  of  his 
"  Chronometre,"  the  first  known  in- 
strument for  indicating  exact  tempo. 

lioure.  Normandy  bagpipe;  dance 
in  6-4  time. 

Iiourg.    Fr.    Legato;   smooth. 

Louvre.  Favourite  dance  with 
Louis  XIV  of  France,  said  to  have 
been  adapted  to  the  air  "  L'aimable 
vanqueur." 

Love  in  a  Village.  English  ballad 
opera,  to  book  by  Bickerstaffe,  music 
arranged  by  Dr.  Ame,  was  first  per- 
formed in  1762  at  Covent  Garden, 
London,  and  became  almost  as  popular 
as  "  The  Beggar's  Opera "  had  been 
with  the  preceding  generation. 

Lover  (Samuel)  composed  "Rory 
O'More "  and  other  songs,  of  which 
he  wrote  the  words,  including  "  Molly 
Bawn,"  "The  Angel's  Whisper,"  the 
opera  "  Graine  Uaile,"  Dublin,  1831 ; 
wrote  libretti  for  Balfe,  many  highly 
popular  novels  and  dramatic  pieces; 
gave  concerts  in  the  principal  British 
cities,  and  toured  America,  1846;  was 
miniature  painter  as  well  as  musician 
and  author.  B.  Feb.  24,  1797,  Dublin; 
d.  July  6,  1868,  St.  Heliers,  Jersey. 

Love's  Triumph.  W.  Vincent 
Wallace's  three-act  opera,  to  book  by 
J.  R.  Blanche,  was  first  performed 
Nov.  3,  1862,  at  Covent  Garden  by 
the  Royal  English'  Opera  Company. 

Lowe  (Edward)  wrote  on  Anglican 
cathedral  music;  played  organ  Christ 
Church  Cathedral,  Oxford.  B.  Salis- 
bury, about  1610;  d.  July  11,  1682, 
Oxford. . 

Lowe  (Thomas)  created  ten.  rdles 
in  Handel's  operas;  became  a  favour- 
ite singer  in  London  dramatic  enter- 
tainments; debut  1740,  Drury  Lane; 
d.  Mar.  1,  1783. 


LUBECE 


344   LUCIA  DI  LAMSIEBUOOB 


Iiiibeck  (Johann  Heinrich)  be- 
came chapelmaster  and  directed  Hague 
Conservatory.  B.  Feb.  11,  1799,  Al- 
phen,  Holland;  d.  Feb.  7,  1865,  The 
Hague.  Ernst  composed  for  piano 
and  played  that  instrument  in  suc- 
cesaful  tours  of  Europe  and  America, 
1849-54;  then  became  court  pianist 
at  The  Hag^e;  removed  to  Paris  and 
was  made  insane  by  the  Commune.  B. 
Aug.  24,  1829,  The  Hague;  son  of 
JOHANN  HEINRICH;  d.  Sept.  17, 
1876..  Louis  taught  'cello,  Leipsic 
Conservatory,  later  in  Frankfort; 
played  in  Berlin  Royal  Orchestra.  B. 
The  Hague,  1838;  son  of  JOHANN 
HEINRICH;    d.  Mar.  8,  1904,  Berlin. 

Lucas  (Charles)  composed  the 
opera  "  The  Regicide,"  three  sympho- 
nies, anthems,  songs,  string  quartets; 
played  'cello  and  organ;  conducted  at 
the  Royal  Academy  of  Music,  1832, 
where  he  had  been  a  pupil  imder  Lind- 
ley,  Lord,  and  Dr.  Crotch;  principal 
Royal  Academy  of  Music,  1859.  B. 
July  28,  1808,  Salisbury;  d.  Mar.  30, 
1869.  Stanley  published  music  in 
London;  was  secretary  Leslie's  Choir, 
Royal  Society  of  Musicians,  and  Lon- 
don Philharmonic  'Society.  B.  1834; 
son  of  CHARLES;  d.  July  24,  1903, 
London. 

Lucas  (Clarence)  composed  64 
songs,  including  the  cycle.  Op.  45,  to 
words  by  Longfellow,  Shelley,  Swin- 
burne, Lytton,  and  Poe;  "Meditation" 
for  piano,  A  flat ;  in  all  about  40 
piano  pieces.  .  Ballad  in  A  for  violin ; 
"The  Money  Spider,"  1897,  London, 
and  six  other  operas;  four  oratorios 
and  cantatas,  including  "The  Birth  of 
Christ,"  Chicago  Apollo  Club,  1903; 
overtures  to  "Othello,"  "As  you  like 
it,"  and  Macbeth,"  the  last  produced 
by  Theodore  Thomas,  1901.  Born  near 
Niagara,  Canada,  of  Irish  and  Dutch 
parentage,  young  Lucas  played  trom- 
bone, violin,  and  organ  in  Montreal, 
and  at  20  became  a  student  of  Marty, 
and  later  of  Dubois  in  Paris.  After 
visiting  Rome  and  Florence,  he  re- 
turned to  America,  taught  at  Toronto, 
conducted  the  Philharmonic  Society 
at  Hamilton ;  later  played  organ  and  ^ 
taught  at  the  Utica  N.  Y.  Conser- 
vatory.    In  1893  he  settled  in  Lon- 


don; wrote  criticism,  edited  manu- 
scripts, and  read  proof;  conducted  the 
Westminster  Orchestral  Society,  and 
in  1904r-5  toured  with  the  musical 
play  "Peggy  Machree,"  re-scoring  it  in 
1905.    B.  Oct.  19,  1866;   add.  London. 

Lucca  (Pauline)  sang  sop.  in  opera, 
debut  as  Elvira  in  "  Ernani,"  OlmUtz, 
1859,  and  thereafter  acquiring  a  reper- 
toire of  56  rSles,  in  which  she  ap- 
peared with  great  success  in  Berlin, 
London,  Prague,  St.  Petersburg,  and 
other  cities.  Appointed  court  singer 
for  life  at  Berlin,  she  broke  her  en- 
gagement there  in  1872,  and  spent 
two  years  in  the  United  States.  Re- 
turning to  Europe,  she  sang  with 
undiminished  popularity  in  all  the 
principal  cities  except  Berlin.  She  re- 
tired about  1878,  but  held  an  honorary 
appointment  at  the  Vienna  Court 
Opera.  In  early  life  Lucca  was  a 
choirsinger,  and  studied  with  Usch- 
mann  and  Lewy,  in  Vienna.  She  pos- 
sessed the  dramatic  talent  necessary 
to  excel  in  such  widely  differing  char- 
acters as  "  Cherubino,"  "  Selika,"  "La 
Juive,"  "Agathe,"  and  "Elsa."  B. 
April  26,  1841,  Vienna;  m.  Baron 
von  Rahden,  1869;  divorced  1872  and 
m.  Herr  von  Wallhofen;   add.  Vienna. 

Luccbesina  (Slaria  Antonia 
Karchesini)  sang  mez.  sop.  in  Lon- 
don Ojpera  under  Handel,   1737-39. 

Lucia,  de  (Fernando)  sang  ten.  in 
London  and  Lisbon  operas,  appearing 
as  Canio  in  the  first  London  perform- 
ance of  "Pagliacci,"  1893.  B.  1860, 
Naples;    add.  Naples. 

Lucia  di  Lammermoor.  Gaetano 
Donizetti's  three-act  opera,  to  hook 
by  Cammarano,  was  first  performed 
at  Naples,  1835.  It  is  based  on  Sir 
Walter  Scott's  "  Bride  of  Lammer- 
moor." Enrico  ( Sir  Henry  Ashton  of 
Lammermoor)  seeks  to  restore  the 
family  fortunes  by  marrying  his  sister 
Lucia  (Lucy)  toArturo  (Lord  Arthur 
Bucklow) ,  and  is  enraged  to  find  that 
she  loves  Edgardo  ( Sir  Edgar  Ravens- 
wood),  his  greatest  enemy.  Lucia  and 
Edgardo  meet  in  the  park,  and  Ed- 
gardo, who  has  been  appointed  ambas- 
sador to  France,  tells  Lucia  that  al- 
though he  has  sworn  to  revenge  him- 
self on ,  Enrico  for  having  killed  hia 


LXTCIO    SILIiA 


345 


LUCBEZIA   BOBGIA 


father  and  robbed  him  of  his  fortune, 
love  haa  so  changed  him  that  he  de- 
sires to  be  reconciled  to  his  enemy. 
The  lovers  swear  eternal  fidelity  as 
the  act  closes.  In  the  second  act  En- 
rico, who  has  intercepted  the  corre- 
spondence of  Edgardo  and  Lucia,  shows 
his  sister  a  forged  letter  which  she 
accepts  as  proof  that  Edgardo  has 
been  false  to  her.  Then  Enrico  urges 
the  suit  of  his  friend  Arturo,  to  which 
she  at  last  consents.  The  moment 
the  marriage  contract  has  been  signed, 
Edgardo  enters  to  claim  Lucia  as  his 
bride.  Bloodshed  is  averted  by  the 
intercession  of  Kaimondo  (Raymond 
Bide-the-Bent) .  Edgardo  denounces 
Lucia  for  her  faithlessness,  and  is  or- 
dered from  the  castle  by  Enrico  and 
Arturo.  In  the  third  act  Baimondo 
announces  that  Lucia,  in  a  fit  of  in- 
sanity, has  slain  her  husband,  and  is 
herself  dying.  The  scene  changes  to 
the  churchyard  of  Ravenswood,  where 
Edgardo  awaits  the  sunrise,  when  he 
is  to  meet  Enrico  in  a  duel.  The  news 
of  Lucia's  death  is  brought  to  him, 
and  he  stabs  himself  and  dies.  The 
original  cast  included  Lucia,  Mme. 
Persiani,  sop.;  Edgardo,  Duprez, 
ten.  The  principal  musical  numbers 
are :  Act  I :  "  Cruda  f unesta  smania," 
Enrico ;  Hunters'  Chorus ;  "  La  pie- 
tade  in  suo  favore,"  Enrico;  "Reg- 
nava  nel  silenzio,"  Lucia ;  "  Sulla 
tombe  che  rinserra,"  Edgardo;-  Act 
II:  "Se  tradirmi  tu  potrai,"  Enrico 
and  Lucia;  "Chi  mi  frena,"  sextet; 
Act  III:  "Dalle  stanze  eve  Lucia," 
Raimondo;  "O  jioja  che  si  senti " 
(Mad  Scene),  Lucia;  "Tombe  degli 
avi  miei,"  Edgardo. 

liucio  Silla.  W.  A.  Mozart's  three- 
act  opera,  to  book  by  G.  da  Gamera, 
was  first  performed  Dec.  26,  1772, 
at  Milan. 

Lucrezia  Borgia.  Gaetano  Doni- 
zetti's three-act  opera,  to  book  by 
Romani  based  on  Hugo's  play,  was 
first  performed  at  La  Scala,  Milan, 
1834.  Lucrezia  Borgia,  now  wife  of 
Alfonso,  Duke  of  Ferrara,  goes  to 
Venice  to  see  her  son,  Genarro,  of 
whose  existence  the  Duke  is  igno- 
rant, and  whom  she  had  caused  to  be 
brought  up  by  a  Venetian  fisherman. 


Grenarro  has  risen  to  high  rank  in  the 
Venetian  arniy  and  is  a  guest  at  the 
Barberigo  Palace,  where  a  festival  is 
taking  place  when  the  curtain  rises. 
Orsini  and  others  of  Genarro's  friends 
declaim  against  the  crimes  of  the 
Borgias,  and  finally  leave  Genarro 
asleep.  Then  Lucrezia  enters,  charmed 
with  the  manly  beauty  of  her  son, 
and  when  he  awakens,  listens  with 
delight  to  the  story  of  his  adventures. 
Genarro  is  pleased  with  his  beau- 
tiful visitor,  and  is  imploring  her  to 
tell  him  her  name  when  his  friends 
return,  and  at  once  denounce  her  as 
the  infamous  Borgia.  The  second  act 
opens  in  Ferrara.  Genarro,  who  has 
been  tatmted  by  his  friends  with  being 
Lucrezia's  lover,  tears  down  her  arms 
from  the  Ducal  palace,  and  the  Duke, 
who  also  suspects  the  young  man  of 
being  his  wife's  lover,  causes  his  ar- 
rest. Enraged  at  the  insult,  and  not 
knowing  its  author,  Lucrezia  demands 
that  he  be  apprehended  and  put  to 
death.  The  Duke  readily  assents,  and 
Lucrezia  is  horrified  to  learn  that  it  is 
her  son  whose  condemnation  she  has 
brought  about.  She  implores  the 
Duke  to  pardon  him,  but  the  Duke  re- 
plies with  an  outburst  of  jealous  rage, 
and  will  only  agree  that  Lucrezia  may 
choose  the  manner  of  Genarro's  death. 
Lucrezia  then  causes  the  young  man 
to  drink  the  famous  poisoned  wine  of 
the  Borgias,  and  when  the  Duke  de- 
parts, gives  him  an  antidote.  His  life 
thus  saved,  she  begs  him  to  return 
to  Venice.  The  third  act  represents 
the  banquet  hall  in  the  Negroni  pal- 
ace. Instead  of  returning  to  Venice, 
Genarro  has  accompanied  his  friend 
Orsini  to  the  banquet.  Not  knowing 
this,  Lucrezia  poisons  the  wine,  and 
in  the  midst  of  the  revelry  tells  the 
guests,  the  group  of  young  men  who 
had  insulted  her  in  Venice,  she  has 
done  so  in  return  for  their  former 
hospitality.  Draperies  are  drawn 
aside  revealing  five  coffins.  Genarro 
presents  himself  and  asks  for  the 
sixth.  His  mother  is  overcome  with 
horror,  but  oflFers  Genarro  the  anti- 
dote, which  he  declines,  even  when  she 
reveals  herself  as  his  mother,  on  the 
ground  that  there  is  not  sufficient  to 


LTTDWia 


346 


LXTLLI 


save  his  friends.  Genarro  expires  in 
her  arms  as  the  Duke  enters,  Lucre- 
zia  at  last  proclaims  her  relationship 
to  the  young  Venetian,  and  dies,  ex- 
claiming that  Heaven  has  passed  judg- 
ment upon  her.  Hugo  forbade  the 
performance  of  the  opera  in  Paris, 
and  it  was  necessary  to  rewrite  the 
libretto,  call  it  "La  Rinegata,"  and 
transpose  the  action  from  Italy  to 
Turkey  before  it  could  be  resumed. 
In  London  it  served  as  the  vehicle  of 
Mario's  debut,  Dec.  30,  1843.  The 
principal  musical  numbers  are :  Act  I : 
"  Nelle  fatal  di  Rimini,"  Orsini ; 
"  Com'  e  bello,"  Lucrezia ;  "  Di  pea- 
catore  ignobile,"  Genarro;  "Chi  siam 
noi  sol  chiarirla,"  chorus  finale;  Act 
II :  "  Vieni  la  mia  vendetta,"  the 
Duke ;  "  0 !  a  te  bada,"  Lucrezia  and 
the  Duke;  Act  III:  "II  segreto  per 
esser  felici,"  Orsini. 

Ludwig  (Joseph)  played  violin, 
giving  quartet  concerts  in  England 
with  G.  Collins,  second  violin;  A. 
Gibson  or  A.  Hobday,  viola;  W.  E. 
Whitehouse,  'cello;  pupil  of  Cologne 
Conservatory  and  of  Joachim.  B. 
April  6,  1844,  Bonn;  add.  London. 
Paul  played  'cello  in  chamber  con- 
certs and  London  orchestras;  pupil 
of  the  Royal  College  of  Music.  B. 
Aug.  11,  1872,  Bonn;  son  of  JOSEPH; 
add.  London. 

Lugubre.  Fr.  Lugubrious,  dis- 
mal,  doleful. 

Luinig.  Plaintive  airs  sung  by 
women  of  the  Hebrides  and  Highland 
of  Scotland  while  at  work. 

Luisa  Hiller.  Giuseppe  Verdi's 
four-act  opera,  to  book  by  Camarano, 
based  on  Schiller's  "  Cabale  und  Lieb," 
was  first  performed  Dec.  8,  1849,  at 
Naples. 

liulli  (Jean  Baptiste)  composed 
"  Les  Fetes  de  1' Amour  et  de  Bacchus," 
Paris  Acad^mie  de  Musique,  Nov.  15, 
1672,  which  marked  the  beginning  of 
French  opera ;  dominated  the  music  of 
France  from  that  year  until  his  death, 
owing  to  the  favour  of  Louis  XIV, 
who  transferred  to  him  the  control 
of  the  opera  which  has  previously  been 
given  Abb€  Perrin,  made  him  music 
master  to  the  royal  family,  court  com- 
poser,  surintendant,   royal   secretary. 


and  raised  him  to  the  nobility  as 
the  "Sieur  de  Lully."  Although 
of  humble  birth,  according  to  some 
writers,  LuUi  was  described  in  the 
letters  of  naturalization  granted  in 
1661  as  the  son  of  Lorenzo  d'  LuUi, 
a  Florentine  gentleman.  He  received 
his  first  lessons  in  music  from  a 
Franciscan  monk,  and  when  still  a 
child  was  taken  to  Prance  by  the 
Chevalier  de  Guise  to  instruct  his 
niece.  Mile,  de  Montpensier,  in  Ital- 
ian. Instead  of  becoming  her  teacher, 
he  was  placed  in  the  kitchen  as  a 
scullion,  but  was  promoted  to  the 
band  after  Count  de  Nocent  had  dis- 
covered his  proficiency  on  the  violin. 
There  he  remained  several  years,  when 
a  satirical  song  he  had  composed  at  the 
expense  of  Mile,  de  Montpensier  came 
to  her  ears,  and  he  was  dismissed. 
Fortunately  the  king  had  heard  him 
play,  and  he  at  once  became  a  member 
of  the  "Twenty-four  Violins."  The 
inability  of  this  band  to  play  LuUi's 
compositions  led  to  the  formation  of 
"  Les  Petits-Violons "  under  leader- 
ship of  LuUi,  and  eventually  to  the 
destruction  of  the  CONFRERIE  DE 
ST.  JULIEN,  which  had  monopolized 
and  almost  destroyed  practical  musi- 
cianship in  the  realm.  Lulli  made 
the  "  Petits-Violons  "  the  best  orches- 
tra in  France,  and  meantime  studied 
theory,  singing,  and  harpsichord  most 
industriously.  The  song  "Au  clair 
de  la  Lune,"  dance  music,  and  church 
pieces  spread  his  fame  as  a  composer, 
and  at  length  he  was  asked  to  com- 
pose the  ballets  in  which  Louis  XIV 
delighted  to  take  part  with  the  ladies 
and  gentlemen  of  the  court.  In  these 
entertainments  Lulli  himself  danced 
beside  the  king.  From  1658  to  the 
beginning  of  his  career  as  director  and 
composer  of  opera,  Lulli  composed 
about  30  of  these  ballets,  MoliSre 
supplying  the  action.  20  operas  fol- 
lowed the  transference  of  the  patent 
for  the  Academic  de  Musique  to  Mo- 
li6re,  all  to  books  provided  by  the 
poet  Quenault.  He  ruled  with  an  iron 
hand.  By  the  king's  orders  no  oppo- 
sition was  permitted,  and  Lulli  sa* 
that  the  king's  orders  were  enforced. 
In  1664  he  had  married  the  daughter 


LTI-LXT 


347 


LtrPOT 


of  Michael  Lambert,  who  brought  him 
20,000  livres,  his  income  waa  30,000 
livres  from  various  appointments,  and 
he  left  an  estate  valued  at  the  equiva- 
lent of  $54,000,  besides  four  houses  in 
the  fashionable  part  of  Paris.  Death 
resulted  from  an  abscess  on  his  foot, 
caused  by  having  struck  it  with  the 
baton  while  conducting  a  Te  Deum, 
Jan.  8,  1687,  in  celebration  of  the 
king's  return  to  health.  Besides  the 
opera  named,  LuUi  composed  "Cadmus 
et  Hermione,"  "Alceste,"  "Thfisfe," 
"Le  Camaval,"  "Atys,"  "Isis," 
"Psyche,"  "  Bellfirophon."  "  Proserr 
pine,"    "  Le    triomphe    de    I'Amour " 

(ballet),  "Persee,"  "Phaeton," 
"Amadis  de  Gaule,"  "Roland," 
"  Idylle  sur  la  paix "  ( divertisse- 
ment),    "L'Ecloge     de     Versailles" 

(divertissement),  "L«  Temple  de  la 
Paix"  (ballet) ;  "  Armide  et  Renaud," 
"  Aois  et  Galatfie,"  one  act  of  "  Aohille 
et  Polyx6ne,"  symphonies,  motets  for 
double  choir,  a  Miserere,  a  Libera,  and 
other  church  music,  songs,  and  violin 
solos.  B.  about  1633,  Florence;  d. 
Mar.  22,  1687.  See  "  LuUi  musicien," 
by  Le  Prfivost  d'Exmes.  Louis  com- 
posed the  operas  "  Zfiphire  et  Flore  " 

(with  Jean  Louis),  "Orphfie,"  1690; 
"Alcide"   or   "La   Mort   d'Hercule " 

(with  Marais)  and  the  ballet  "  Les 
Saisons"  (with  Colasse).  B.  Aug. 
4,  1664,  Paris;  son  of  JEAN  BAP- 
TISTE;  d.  about  1715.  Jean  Bap- 
tiste  composed  "  Le  triomphe  de  la 
Raison,"  1696;  became  surintendant 
of  the  king's  music.  B.  Aug.  6,  1665, 
Paris;  son  of  JEAN  BAPTISTE;  d. 
June  9,  1701.  Jean.  Louis  succeeded 
to  the  appointments  of  his  father,  the 
first  JEAN  BAPTISTE.  B.  Sept.  23, 
1667;    d.  Dec.  28,  1688. 

Lu-lu.  Official  Chinese  collection 
of  works  on  music. 

Luinbye  (Hans  Christian)  com- 
posed marches  and  dances  which  were 
played  by  his  own  orchestra  at  the 
Tivoli,  near  Copenhagen.  B.  Copen- 
hagen, May  2,  1810;  d.  Mar.  20,  1874. 
Geor§^  composed  "Die  Hexenfl8te," 
1869,  a  successful  opera;  became  suc- 
cessor to  his  father,  HANS  CHRIS- 
TIAN. B.  Copenhagen;  add.  Copen- 
hagen. 


Ziumley  (Benjamin)  managed  the 
London  Opera,  1841-52,  Theatre  des 
Italiens,  Paris,  1850-51,  and  the  Lon- 
don Opera  again,  1856-58;  wrote 
"  Reminiscences  of  the  Opera,"  Lon- 
don, 1864.  B.  1811,  London,  real 
name  Levy;   d.  Mar.  17,  1875,  London. 

Lunga.     /*.     Long,  prolonged. 

Lunn  (Louisa  Kirkby)  sang  mez. 
sop.  in  opera,  debut  Dec.  6,  1893, 
Drury  Lane,  London,  in  "Genoveva," 
later  with  Carl  Rosa  Company,  creat- 
ing "  Kundry  "  in  the  English  produc- 
tion of  "  Parsifal,"  made  in  Boston, 
Oct.  17,  1904,  by  the  Savage  Opera 
Company.  Her  voice  ranged  from  g 
to  b"  flat,  and  her  r5les  included  Or- 
trud,  Brangaene,  Carmen,  Amneris, 
Erda.  In  1908  she  toured  America, 
and  sang  in  opera  at  the  Metropolitan 
Opera  House,  New  York.  B.  Nov.  8, 
1873,  Manchester,  Eng.;  m.  W.  J.  K. 
Pearson,  London,  1899;   add.  London. 

liuogo.    /*.    LOCO. 

Lupo  (Ambrose)  played  violin, 
English  Royal  Band,  1559-94.  Jo- 
sepho  played  violin,  Eng.  Royal 
Band,  1581-1605.  Pietro  played  vio- 
lin, Eng.  Royal  Band,  1581-1605. 
Thomas  played  violin,  Eng.  Royal 
Band,  1593-1627.  Thomas  played 
violin,  Eng.  Royal  Band,  1599-1637; 
son  of  PIETRO.  Thomas  played  vio- 
lin, Eng.  Royal  Band,  1601;  son  of 
JOSEPHO.  Theophil  composed  a 
"  Suite  of  Languages,"  published  in 
1654,  London;  played  violin,  Eng. 
Royal  Band,  1627-40;  son  of 
THOMAS.  Horatio  played  violin, 
Eng.  Royal  Band,  1612-25. 

Lupot  (Jean)  made  violins  in  Mire- 
court,  Vosges,  France.  Laurent  made 
violins  at  Lunfiville,  1751-59,  and  at 
Orleans,  1756-62.  B.  1696;  son  of 
JEAN.  Frangols  made  violins  for 
the  Grand  Duke  of  Wurtemberg  in 
Stuttgart,  1758-70,  when  he  settled 
in  Orleans;  son  and  pupil  of  LAU- 
RENT. Nicolas  became  known  as 
"  the  French  Stradivarius " ;  made 
violins  at  first  in  Orleans,  but  estab- 
lished himself  in  Paris,  1794,  and 
speedily  became  the  first  violin  maker 
in  Europe,  although  he  was  content 
to  copy  the  models  of  Stradivarius 
and  occasionally  those  of  Guarnerius. 


LUR 


348 


LTJTHEB'S   HYMN 


He  made  "  consorts  of  viols,"  and  all 
of  his  instruments  still  command  a 
good  price.  B.  1758,  Stuttgart;  d. 
1824,  Paris.  Frangois  made  excel- 
lent bows.  B.  1774,  Orleans;  brother 
of  NICOLAS;  d.  1837,  Paris.  Do- 
minique Feccate  succeeded  to  the 
bow  making  business,  Charles  Fran- 
cis Oand,  son-in-law  of  NICOLAS,  to 
the  violin  making  craft,  and  his  suc- 
cessors, Gand  et  Bernardel,  are  the 
present  "  Ancienne   Maison   Lupot." 

Iiur.  Danish  variety  of  the  Alp- 
hom;  prehistoric  brass  trumpets  of 
curved  form. 

Iiurline.  W.  Vincent  Wallace's 
three-act  opera,  to  book  by  E.  Fitzball, 
was  first  performed  Feb.  23,  1860,  at 
Covent  Gk.rden,  London. 

Luscinius  (Ottomar)  composed 
organ  music;  wrote  "Musica  Insti- 
tutiones,"  1515,  "  Musurgia,"  1536; 
played  organ  at  Strasburg,  1515; 
canon  of  St.  Stephen's,  Vienna.  B. 
Strasburg,  1487;  d.  1537,  Freiberg, 
Breisgau. 

Lusigando  or  Lusigante.  It. 
Caressingly,  coaxingly. 

Lusinghevole.  /*.  Caressingly, 
coaxingly. 

liusinghiere  or  Lusinghiero.  It. 
Caressing,  coaxing. 

Lustig.    Ger.    Merry. 

Lustige  Weiben  von  Windsor. 
Otto  Nicolai's  German  opera,  better 
known  as  the  "MERRY  WIVES  OP 
WINDSOR,"  its  English  version. 

Lute.  Obsolete  instrument  of  the 
guitar  family  once  highly  popular 
throughout  Europe,  music  for  which 
was  in  Tablature  NOTATION.  The  in- 
strument is  believed  to  be  of  Persian 
origin.  It  bec.^m^  popular  with  the 
Arabs,  and  passed  from  them  through 
Spain  into  Europe.  The  back  is  pear- 
shaped,  instead  of  flat,  as  with  guitars, 
and  the  superior  beauty  of  the  lute, 
which  was  often  ornamented  with  the 
most  exquisite  enlays  of  rare  woods, 
mother-of-pearl,  and  ivory,  and  with 
paintings  on  the  sound-board,  caused 
many  of  them  to  be  preserved  for 
decorative  purposes.  There  were  from 
four  to  thirteen  pairs  of  strings,  either 
in  unison  or  the  octave,  but  the  six 
stringed  variety  was  that  chiefly  used. 


and  for  this  the  tuning  was  G,  c,  f,  a, 
d',  g'.  This  tuning  for  an  eleven 
stringed  lute  has  been  preserved  C, 
D,  E,  F,  G,  A,  d,  g,  b,  e',  a'.  The 
five  lowest  strings  in  the  latter  ex- 
ample were  open  and  could  not  be 
stopped  with  the  fingers.  The  finger- 
board was  fretted  for  tones  and  semi- 
tones like  that  of  the  guitar,  and  the 
method  of  stopping  and  of  plucking 
the  strings  was  similar.  Lutes  having 
open  string  bass  notes  affixed  to  a 
second  neck  were  known  as  Theorbos, 
Archlutes,  or  Chitarroni. 

Lutenist.     Lute-player. 

Lutb.    Fr.    Lute. 

Luther  (Martin)  probably  com- 
posed as  well  as  wrote  the  hymns 
"  Jesaia  dem  Propheten  das  Geschah  " 
and  "  Ein  feste  Burg  ist  unser  Gott," 
wrote  words  of  the  hymns  "  Ein  neues 
lied,"  "Erhalt  uns,  Herr,"  "Jesus 
Christus,"  "Nun  freut  eueh,".  and 
"  Vom  Himmel  kam  " ;  revised,  ampli- 
fied, arranged,  or  translated  in  all 
36  hymns;  established  Congregational 
singing  among  his  followers;  played 
flute  and  lute,  and  sang.  In  all  some 
thirteen  hymn  tunes  were  accredited 
to  Luther.  His  method  of  composing 
was  to  evolve  the  melodies  on  his  flute 
while  either  Rupff  or  Warther  noted 
them  down.  His  love  of  music  is 
proved  by  a  treatise  in  its  praise, 
1538,  and  his  poem  "Frau  Muaika." 
B.  Nov.  10,  1483,  Eisleben;  d.  Feb. 
18,   1546,  Eisleben. 

Lutheran  Chapel.  Attached  to  St. 
James's  Palace,  London,  is  a  building 
erected  by  Inigo  Jones  to  serve  as  a 
Roman  Catholic  chapel  for  Queen 
Henrietta  Maria,  1626.  In  1662  it 
was  used  for  Roman  Catholic  ser- 
vices for  Queen  Catherine  of  Bra- 
ganza.  Then  it  was  turned  over  to 
the  French  Protestants.  On  the  acces- 
sion of  William  of  Orange  it  was  used 
for  services  in  Dutch,  for  (Jerman 
Lutheran  services  under  the  Georges, 
and  of  late  years  the  service  has  been 
in  Danish. 

Luther's  Hyinn  is  the  popular 
name  for  the  English  hymn  beginning 
"  Great  God,  what  do  I  see  and  hear? " 
The  origin  of  words  and  music  is 
unknown. 


liUTTtrOSAMENTE 


349 


HCABELLINI 


Luttuosamente.  It.  Moumful- 
ness,  sadness. 

Luttuoso.     /(.     Mournfully,  sadly. 

Lutz  (Wilhelm  Meyer)  composed 
"  Faust  and  Marguerite,"  1855,  "  Leg- 
end of  the  Lys,"  and  other  operas; 
the  cantata  "  Heme  the  Hunter," 
masses;  played  organ;  conducted. 
B.  Mannerstadt,  Kissingen,  1822;  d. 
Jan.  31,  1903,  London. 

Luyton  (Carl)  composed  masses, 
madrigals,  organ  pieces;  organist  to 
the  Emperors  Maximilian  II  and  Ru- 
dolf II.  B.  Antwerp  about  1550;  d. 
1620,  Prague. 

LuzzascM  (Luzzasco)  composed 
motets  and  madrigals;  organist  and 
chapelmaster  to  the  Duke  of  Ferrara ; 
pupil  of  Cipriano  de  Rore  and  teacher 
of  Frescobaldi;  publications  dated 
1575  to  1601. 

LvofE  or  Lwoff  (Feodore  Petro- 
vich.)  became  director  of  the  Russian 
Imperial  chapel,  1825,  in  succession  to 
Bortniansky.  Alexis  Feodorovich 
composed  the  Russian  national  hymn 
"  God  Save  the  Czar,"  1833,  to  words 
by  Joukovsky;  the  operas  "  Bianca 
e  Gualtiero,"  "Undine,"  "  Starosta 
Boris,"  24  caprices,  and  a  concerto  for 
violin;  "  Le  Duel,"  for  violin  and 
'cello;  succeeded  his  father  FEODORE 
PETROVICH  as  director  of  the  Rus- 
sian Imperial  chapel;  played  violin. 
B.  June  6,  1799 ;  d.  Dec.  16,  1870,  near 
Kovno,  Russia. 

Lyceum  Theatre  served  as  the 
home  of  London  opera  from  the  burn- 
ing of  Drury  Lane,  1809,  becoming  the 
"  English  Opera  House."  It  was  built 
in  1765.  In  1815  a  new  building  was 
erected  on  the  old  site,  and  there  "  Der 
Freischiitz  "  had  its  first  performance, 
in  England,  1824.  Feb.  16,  1830,  the 
house  was  destroyed  by  fire.  Balfe 
occupied  the  new  house,  1841.  The 
Royal  Italian  Company  played  there 
in  1856  while  Covent  Garden  was  being 
rebuilt,  and  it  was  the  home  of  the 
Carl  Rosa  Company  in  1876-77.  It 
was  the  scene  of  many  brilliant  dra- 
matic productions  under  the  manage- 
ment of  Sir  Henry  Irving,  and  became 
a  music  hall  in  1904. 

Lydian  Mode.  Fifth  of  the  Ec- 
clesiastical MODES. 


Lyon  Strings.  Spun  strings  for 
the  bass  of  viols  and  lutes. 

Lyra.  Modern  Greek  rebec  having 
three  strings,  played  with  a  bow. 

Lyra  Mendicorum.  L.  "  Beg- 
gar's lyre."    Hurdy-gurdy. 

I^yra  Viol.  Obsolete  viol  resem- 
bling the  viol  da  gamba,  but  having 
seven  frets  and  six  strings  so  tuned 
as  to  permit  of  the  use  of  lute  Tab- 
lature  in  writing  for  it. 

_  Lyre.  The  chief  instrument  of  an- 
cient Greece  for  accompanying  the 
voice  in  song  or  declamation  consisted 
of  a  resonance  box  or  sound  board, 
with  two  curved  arms  supporting  a 
cross  bar  from  which  three  to  ten 
strings  descended  to  be  attached  to 
the  tail-piece  below  the  bridge.  The 
instrument  was  played  with  a  plec- 
trum. The  large  size  was  known  as 
the  CITHARA,  and  the  treble  or  small 
lyre  as  the  CHELYS.  The  term  was 
synonymous  with  Viol  in  the  Middle 
Ages,  and  the  Lira  da  Braccio,  Lira 
da  Gamba,  and  Arehiviole  di  Lira  were 
all  varieties  of  bowed  instruments. 

Lyric.  Suitable  to  be  sung  to  the 
lyre,  hence  a  song,  poetry,  or  blank 
verse,  or  musical  composition  of  cor- 
responding style. 

Lyric  Stage.    The  operatic  stage. 

Lysberg  (Charles  Samuel)  com- 
posed the  opera  "  La  Fille  du  Caril- 
lonneur,"  a  sonata,  "  L'absence,"  many 
salon  pieces  for  piano;  played  piano; 
taught  Geneva  Conservatory;  known 
as  "  Bovy-Lysberg  " ;  pupil  of  Chopin. 
B.  Mar.  1,  1821,  Lysberg,  Canton  of 
Bern;    d.  Feb.  25,  1873,  Geneva. 


M  is  the  abbreviation  for  Main, 
Mano,  Manual;  M.  F.  for  Mezzo 
Forte;  M.  P.  for  Mezzo  Pianp; 
M.  M.  for  Malzel's  Metronome. 

Ma.  /*.  "  But " ;  as  Andante  ma 
non  troppo,  slow,  but  not  too  slow. 

Maas  (Joseph)  sang  ten.  in  Eng- 
lish concerts,  festivals,  and  with  the 
Carl  Rosa  Opera  Company;  in  boy- 
hood, chorister  Rochester  Cathedral. 
B.  Dartford,  Jan.  30,  1847;  d.  Jan. 
16,  1886,  London. 

Mabellini  (Teodulo)  composed  the 
successful  opera  "  Matilda  di  Toledo  " 


MACBETH 


350 


UACDOWELI. 


at  19  J  "EoUa,"  Turin,  1840;  "  Fia- 
metta,"  Florence,  1852,  and  other 
operas ;  the  oratorios  "  Eudossia  e 
Paolo,"  "  L'Ultimo  Giorno  di  Gerusa- 
lemme  " ;  the  cantatas  "  Lo  Spirito  di 
Dante,"  "  La  Caccia,"  "  Rafaele  San- 
zio,"  "Elegiaoa,"  "II  Ritorno";  be- 
came court  chapelmaster  at  Florence 
and  teacher  in  the  Instituto  Keale 
Musicale,  where  he  had  been  a  pupil. 
B.  April  2,  1817,  Pistoia;  d.  Mar.  10, 
1897,  Florence. 

Macbeth.  Giuseppe  Verdi's  four- 
act  opera,  to  book  by  Piave,  was  first 
performed  Mar.  17,  1847,  at  the  Per- 
gola, Florence.  Hippolyte  Andre  Jean 
Baptiste  Chelard's  opera,  to  book  by 
Kouget  de  I'lsle,  was  first  performed 
June  29,  1827,  at  the  Paris  Acad€mie. 
Music  for  William  Davenant's  semi- 
operatic  version  of  the  tragedy,  pro- 
duced at  Druiy  Lane,  London,  1672, 
by  his  widow  and  son,  was  composed 
by  Matthew  Locke.  Efforts  have  been 
made  to  establish  both  Furcell  and 
Eccles  as  the  composers,  though  Locke's 
authorship  is  generally  admitted.  A 
later  setting  by  Eccles  was  performed 
at  Drury  Lane,  1696.  Music  for  the 
second  act  was  composed  by  Richard 
Leveridge,  1708. 

Hacbeth.  (Allan)  composed  two 
cantatas,  an  operetta,  chamber  music; 
played  organ  and  taught  in  Glasgow; 
pupil  Leipsic  Conservatory.  B.  Mar. 
13,  1856,  Greenock,  Scotland;  add. 
Glasgow. 

MacCarthy  (Maud)  played  violin, 
debut  in  London,  1894;  touring  Amer- 
ica, 1896;  pupil  of  Arbos.  B.  July 
4,  1884,  Clonmel,  Ireland;  add. 
London. 

MacSonald  (Malcolm)  composed 
Strathpey  reels ;  played  'cello  in  Niel 
Grow's  Edinburgh  Orchestra;  publica- 
tions dated  1788-97.     B.  Inver. 

MacDonald  (Peter)  published  "Col- 
lection of  Highland  Vocal  Airs,"  Edin- 
burgh, 1783;  played  violin;  minister 
of  Kilmore,  Argylshire  for  69  years 
from  1756.  B.  April  22,  1729,  Suther- 
land, Scotland;  d.  Sept.  25,  1824. 
Joseph  wrote  "Theory  of  the  Scots 
Highland  Bagpipe";  helped  his 
brother,  PETER,  in  collecting  Scotch 
songs.    B.  Feb.  26,  1739;    d.  1762, 


MacDowell    (Dr.    Edward   Alex- 
ander)   composed    orchestral    poems 
and   suites,   songs,   piano    sonatas,   a 
concerto,  etc.,  which  established  his 
reputation   as   one   of   the    foremost 
modern  creative  musicians;   was  like- 
wise among  the  most  gifted  of  piano 
virtuosi;     and    a    highly    successful 
teacher.     Dr.   MacDowell   came   of  a 
family    of    Quakers    of    Scotch-Irish 
origin,  but  settled  in  America  prior 
to  the  Revolution.    His  first  teachers 
were  Juan  Buitrago,  Pablo  Desvernine, 
and  for  a  time  Teresa  CarreQo,   all 
Latin-Americans.    From  1876  to  1879 
he  was  a  student  at  the  Paris  Conser- 
vatoire, under  Savard    (composition) 
and  Marmontel  (piano).    Then,  after 
a  few  lessons  from  Lebert  in  Stutt- 
gart, he  settled  in  Frankfort,  studying 
piano  with  Karl  Heymann  and  Raff 
at  the  Hoch  Conservatorium.     "  Raff 
made  a  prot€g€  of  him  and  would  lock 
him  in  a  room  for  hours  until  he  had 
worked  out  the  most  appalling  musi- 
cal problems"    (Hughes).     On  Hey- 
mann's  resignation  MacDowell  was  an 
unsuccessful   candidate   for  his   post, 
but  in  1881  was  made  principal  piano 
teacher  in  the  Darmstadt   Conserva- 
tory, later  returning  to  Frankfort  as 
a   teacher,   but   without   official   con- 
nections.   In  1882  he  visited  Weimar, 
made  the  acquaintance  of  Liszt,  who 
secured  him  the  opportunity  of  per- 
forming his  first  piano  suite  at  the 
session  of  the  Allgemeiner  Deutscher 
Musikverein,  where  he  was  cordially 
received.    From  that  time  his  compo- 
sitions were  accorded  a  hearing  at  the 
principal   concerts   in   Germany,   and 
during   a    sojourn   of   four   years  in 
Wiesbaden  he  grew  in  fame  both  as ' 
composer  and  pianist.     In  1888  Mr. 
MacDowell   settled  in  Boston,  teach- 
ing, giving  concerts,  and  playing  with 
the    Boston    Symphony   and   Thomas 
concerts  on  two  occasions.    In  1896  he 
was  made  head  of  the  newly  organ- 
ized musical  department  of  Columbia 
University,  New  York  City.     Prince- 
ton and  Pennsylvania  gave  him  the 
degree  Mus.  Dr.,  and  besides  his  ardu- 
ous labours  as  teacher,  composer,  and 
pianist,  he  conducted  the  Mendelssohn 
Glee  Club,  1897-98.    During  his  sab- 


UACDOWELIi 


351 


HACDOWELL 


batical  year  at  Columbia,  Dr.  Mac- 
Bowell  taxed  his  strength  by  giving  a 
nxunber  of  recitals  in  the  larger  Ameri- 
can cities,  and  abroad,  appearing  with 
notable  success  at  the  London  Phil- 
harmonic Concert,  May  14, 1903,  vrhere 
he  played  his  second  concerto.  Al- 
ways an  idealist.  Dr.  MacDowell  ac- 
cepted the  professorship  at  Columbia 
in  the  hope  of  founding  there  a  School 
of  Fine  Arts.  Had  this  project  been 
successful,  he  would  have  headed  the 
school  jointly  with  the  eminent  sculp- 
tor-painter MacMonnies.  An  endow- 
ment had  been  promised  which  would 
have  enabled  these  gentlemen  to  as- 
semble a  distinguished  faculty  of  co- 
labourers,  but,  unfortunately,  the  pro- 
ject fell  through.  In  Jan.,  1904,  Dr. 
MacDowell  retired  from  Columbia,  but 
overwork  and  worry  brought  on  a 
cerebral  disorder  which  compelled  him 
to  go  into  retirement.  To  the  deep 
regret  of  the  musical  world,  it  was 
soon  discovered  that  his  malady  was 
incurable.  Then  the  Mendelssohn 
Glee  Club  undertook  to  raise  a  fund 
which  should  assure  the  physical  well 
being  of  the  composer,  MacDowell 
clubs  were  formed  in  many  part  of 
the  country  for  the  study  of  his  works, 
and  a  series  of  benefit  concerts  were 
given,  in  which  his  most  promising 
pupils  took  part.  He  was  taken  to  a 
retreat  in  the  country,  where  the  de- 
votion of  his  wife  and  friends  gave 
him  complete  repose;  but  all  efiforts 
proved  unvailing,  and  he  died  shortly 
after  his  return  to  the  city  which  had 
been  the  scene  of  his  best  efforts.  B. 
Dec  18,  1861,  New  York  City;  d. 
Jan.  24,  1908,  New  York  City.  See 
monographs  by  James  Hunneker  and 
Lawrence  Oilman.  A  complete  cata- 
logue of  his  works,  published  by  Breit- 
kopf  &  Hartel,  follows:  Instru- 
mental compositions.  Piano,  two 
hands:  Op.  10.  First  Modem  Suite. 
Praeludium,  Presto,  Andantino  and 
Allegretto,  Intermezzo,  Rhapsody, 
Fugue.  New  revised  edition  by  the 
composer.  Op.  13.  Prelude  and  Fugue. 
Op.  14.  Second  Modern  Suite.  Prae- 
ludium, Fugato,  Rhapsody,  Scherzino, 
March,  Fantastic  Dance.  Op.  15. 
First  Concerto   in  A-Minor.     Piano- 


forte Solo  with  a  Second  Piano  in 
Score  (two  copies  necessary  for  per- 
formance). New  revised  edition  by 
the  composer.  Op.  16.  Serenata.  Op. 
17.  Two  Fantastic  Pieces  for  Concert 
Use:  No.  1.  A  Tale;  No.  2.  Witches' 
Dance.  Op.  18.  Two  Compositions: 
No.  1.  Barcarolle  in  F;  No.  2.  Humor- 
eske  in  A.  Op.  19.  Wald-Idyllen  (For- 
est Idyls).  No.  1.  Waldesstille ;  No. 
2.  Spiel  der  Nymphen;  No.  3.  TrSu- 
merei;  No.  4.  Dryadentanz.  Op.  23. 
Second  Concerto  in  D-Minor.  Piano- 
forte Solo  with  a  Second  Piano  in 
Score  (two  copies  necessary  for  per- 
formance). Op.  24.  Four  Composi- 
tions: No.  1.  Humoresque;  No.  2. 
March;  No.  3.  Cradle  Song;  No.  4. 
Czardas.  Op.  28.  Six  Idyls  after 
Goethe:  No.  1.  Once  through  the  for- 
est; No.  2.  Under  the  verdure's  vigor- 
ous bloom ;  No.  3.  Bush  and  vale  thou 
flU'st  again;  No.  4.  Light  and  silv'iy 
cloudlets  hover;  No.  5.  As  at  sunset 
I  was  straying;  No.  6.  A  Fairbell 
flower.  Op.  31.  Six  Poems  after 
Heine:  No.  1.  We  sat  by  the  fisher- 
man's cottage;  No.  2.  Far  away  on 
the  rock-coast  of  Scotland;  No.  3. 
My  child,  we  once  were  children;  No. 
4.  We  travelled  alone  in  the  gloaming; 
No.  5.  Shepherd  boy 's  a  King;  No.  6. 
Death  nothing  is  but  cooling  night. 
Op.    32.    Four    Little    Poems:      No. 

1.  The  Eagle;  No.  2.  The  Brook; 
No.  3.  Moonshine;  No.  4.  Winter. 
Op.  36.  Etude  de  Concert,  in  F  sharp. 
Op.  37.  Les  Orientales,  Three  Pieces 
for  Piano:   No.  1.  Clair  de  lune;   No. 

2.  Dans  le  hamac;  No.  3.  Danse  An- 
dalouse.  Op.  38.  Marionettes.  Six 
Little  Pieces  (Soubrette,  The  Lover, 
Knave,  Sweetheart,  Clown,  Witch). 
Op.  39.  Twelve  Studies.  Book  I. 
Hunting  Song,  Alia  Tarantella,  Ro- 
mance, Arabesque,  In  the  Forest, 
Dance  of  the  Gnomes.  Book  II.  Idyl, 
Shadow  Dance,  Intermezzo,  Melody, 
Scherzino,  Hungarian.  Op.  45.  So- 
nata Tragica  (No.  I),  Op.  46.  Twelve 
Virtuoso  Studies.  Complete;  No.  1. 
Novelette;  No.  2.  Moto  Perpetuo; 
No.  3.  Wild  Chase;  No.  4.  Impro- 
visation; No.  5.  Elfin  Dance;  No.  6. 
Valse  Triste;  No.  7.  Burlesque;  No. 
8.  Bluette;  No.  9.  Traumerei;  No.  10. 


MACDOWELL 


353 


MACDOWBI-I. 


March  Wind;  No.  11.  Impromptu; 
No.  12.  Polonaise.  Op.  50.  Second 
Sonata  (Eroica).  Op.  51.  Woodland 
Sketches.  Op.  55.  Sea  Pieces.  Op. 
57.  Third  Sonata  (Norse).  Op.  59. 
Fourth  Sonata  (Keltic).  Op.  61. 
Fireside  Tales.  Op.  62.  New  England 
Idyls.  In  Passing  Moods.  Six  Little 
Pieces  after  Sketches  by  J.  S.  Bach. 
Technical  Exercises:  Book  I,  Book  II. 
Compositions  revised  and  edited  for 
the  pianoforte:  Glinka-Balakirev,  The 
Lark;  Huber,  Intermezzo;  Lavignac, 
Aria  from  Handel's  "Susanna";  Liszt, 
Eclogue;  Moszkowski,  Air  de  Ballet; 
Pierng,  Cradle  Song;  Pierng,  Allegro 
Seherzando ;  Eeinhold,  Impromptu ; 
Stcherbatcheff,  Orientale;  Ten  Brink, 
Gavotte  in  E  minor;  Van  Westerhout, 
Momento  Capricoioso;  Van  Wester- 
hout, Gavotte  in  A;  Moszkowski, 
Etincelles ;  Rimsky-Korsakow,  Ro- 
mance in  A  flat;  Martucci,  Impro- 
viso;  Greisler,  Episode;  Liszt,  Im- 
promptu; Geisler,  Pastorale;  Alkan- 
MaoDowell,  Perpetual  Motion;  La- 
combe,  Etude;  Dubois,  Sketch;  Cui, 
Cradle  Song;  Geisler,  The  Princess 
Use;  Pierng,  Improvisata;  Thorn, 
Amourette.  From  the  eighteenth  cen- 
tury (Transcriptions  for  the  Piamo- 
forte) :  Couperin,  F.,  Le  Bavolet  Flot- 
tant  (The  Waving  Scarf).  Coup- 
erin, F.,  L'Ausonienne,  Contra-Dance. 
Graun,  C.  H.,  Jig.  Grazioli,  G.  B., 
Tempo  di  Minuetto.  Loeilly,  J.  B., 
Jig.  Loeilly,  J.  B.,  Sarabande.  Tran- 
scribed. Mattheson,  Joh.,  Jig.  Ra- 
meau,  J.  P.,  Sarabande.  Rameau, 
J.  P.,  The  Three  Hands.  Couperin,  F., 
La  Bersan.  Bach,  J.  S.,  Six  Little 
Pieces:  Courante,  Minuet,  Jig,  Min- 
uet, March,  Minuet.  Piano,  four 
hands:  Op.  20.  Three  Poems:  Night 
at  Sea,  A  Tale  of  the  Knights,  Ballad. 
Op.  21.  Moon  Pictures.  After  H.  C. 
Andersen.  The  Hindoo  Maiden,  Stork's 
Story,  In  Tyrol,  The  Swan,  Visit  of 
the  Bear.  Op.  22.  Hamlet  and  Ophe- 
lia. Arranged.  Op.  25.  Lancelot  and 
Elaine.  Arranged.  Op.  30.  The  Sara- 
cens and  Lovely  Alda.  Arranged.  Op, 
42.  Suite  (No.  1).  Arranged.  Op. 
48.  Second  (Indian)  Suite  arranged 
by  Otto  Taubmann.  Two  Pianos,  four 
hands:   Op.  15.   First  Concerto  in  A- 


Minor.  Pianoforte  Solo  with  a  Second 
Piano  in  Score.  Op.  23.  Second  Con- 
certo in  D-Minor.  Pianoforte  Solo 
with  a  Second  Piano  in  Score.  Vio- 
loncello: Op.  35.  Romance  for  Violon- 
cello with  Orchestral  aecomp.  Orches- 
tra: Op.  15.  First  Piano  Concerto  in 
A-Minor.  Op.  22.  Hamlet  and  Ophe- 
lia. Two  Poems  for  Full  Orchestra. 
Op.  23.  Second  Piano  Concerto  in  D- 
Minor.  Op.  25.  Lancelot  and  Elaine. 
2d  Symphonic  Poem  for  Full  Orches- 
tra. Op.  30.  The  Saracens  and  Lovely 
Alda.  Two  Fragments  from  the  Song 
of  Roland  for  Full  Orchestra.  Op.  42. 
First  Suite  for  Full  Orchestra.  Op. 
42a.  In  October.  Supplement  to  First 
Suite.  Op.  48.  Second  (Indian)  Suite 
for  Full  Orchestra.  Vocal  Composi- 
tions. Songs :  Op.  9.  Two  Old  Songs : 
Deserted,  Slumber  Song.  Op.  11  and 
12.  An  Album  of  five  songs.  English 
and  German  words:  My  Love  and  I, 
You  love  me  not.  In  the  Skies,  Night 
Song,  Bands  of  Roses.  Op.  26.  From 
an  Old  Garden,  Six  Songs.  Op.  33. 
Three  Songs  for  Soprano  or  Tenor: 
No.  1.  Prayer;  No.  2.  Cradle  Hymn; 
No.  3.  Idyl.  Op.  34.  Two  Songs: 
No.  1.  Menie;  No.  2.  My  Jean.  Op. 
40.  Six  Love  Songs  for  medium  voice; 
Sweet  blue-eyed  Maid,  Sweetheart  tell 
me,  Thy  beaming  Eyes,  For  sweet  love's 
sake,  O  lovely  Rose,  I  ask  but  this; 
No.  3.  Thy  beaming  Eyes.  Two  keys. 
Op.  47.  Bight  Songs  with  Piano.  Ac- 
companiment :  No.  1 .  The  Robin  sings 
in  the  Apple  Tree;  No.  2.  Midsum- 
mer Lullaby;  No.  3.  Folk  Song;  No. 
4.  Confidence;  No.  5.  The  West  Wind 
Croons  in  the  Cedar  Trees ;  No.  6.  In 
the  Woods;  No.  7.  The  Sea;  No.  8. 
Through  the  Meadow.  Op.  56.  Four 
Songs:  Long  ago.  Sweetheart  mine. 
The  Swan  bent  low  to  the  Lily,  A 
Maid  sings  light.  As  the  gloaming 
Shadows  creep  (high  or  low  voice) : 
Op.  58.  Three  Songs:  Constancy,  Sun- 
rise, Merry  Maiden  Spring.  Op.  60. 
Three  Songs;  Tyrant  Love,  Fair 
Springtide,  To  the  Golden  Rod.  Op. 
40.  No.  2.  Sweetheart  tell  me.  Op. 
58.  No.  3.  Merry  Maiden  Spring. 
For  mixed  chorus :  Op.  43.  Two  North- 
ern Songs:  No.  1.  Slumber  Song; 
No.  2.  The  Brook.    Op.  44.  Barcarolle. 


KACE 


353 


XACOLASHAN 


Four  Hand  Piano.  For  male  chorus:  Chase,"  "Don  Carlos";  the  cantatas 
Op.  27.  Three  Songs:  No.  1.  In  the  "May  Day,"  "Around  the  Hearth," 
Starry  Sky  Above  Us;  No.  2.  Spring-  songs,  chamber  music;  taught  at  the 
ume;  No.  3.  The  Fisherboy.  Op.  41.  Royal  Academy  of  Music,  where  he 
Two  Songs:  No.  1.  Cradle  Song;  No.  had  been  a  pupil,  continuing  his  mu- 
2.  Dance  of  the  Gnomes.  Op.  52.  Two  sical  activities  despite  total  blindness. 
Choruses:  No.  1.  Hush,  hush!  No.  Besides  the  works  mentioned,  Mac- 
2.  From  the  Sea.  Op.  53.  Two  Cho-  farren  composed  farces,  melodrama?, 
rusus:  No.  1.  Bonnie  Ann;  No.  2.  a  cathedral  service,  and  other  church 
The  Collier  Lassie.  Op.  54.  Two  music;  wrote  "Rudiments  of  Har- 
Chorusus:  No.  1.  A  Ballad  of  Charles  mony,"  analyses  and  programme  books, 
the  Bold;  No.  2.  Midsummer  Clouds,  music  criticism;  edited  works  for  the 
Two  Songs  from  the  13th  century :  Handel  Society,  of  which  he  was  secre- 
No.  1.  Winter  wraps  his  grimmest  tary;  conducted  opera  and  concerts; 
spell ;  No.  2.  As  the  gloaming  shadows  lectured  at  Cambridge  University  and 
creep.  Columbia  College  Songs.  Co-  arranged  "Moore's  Irish  Melodies." 
lumbia  College  Songs  (transposed  In  1875  he  was  made  Mus.  Dr.  by 
edition).  Arrangements  for  men's  Cambridge  University,  became  prin- 
voices :  Beines,  Spring  Song.  Boro-  cipal  of  the  Royal  Academy  of  Music, 
dine.  Serenade.  Filke,  The  Brook  and  1876,  and  was  knighted  1883.  B.  Mar. 
the  Nightingale.  Moniuszko,  The  Cos-  2,  1813,  London;  son  of  the  play- 
sack.  Rimsky-Korsakow,  Folk  Song,  wright  George  Macfarren;  d.  Oct.  31, 
Sokolow,  Spring.  Sokolow,  From  Si-  1887.  Natalia  sang  con.;  taught 
beria.  von  Holstein,  Bonnie  Katrine,  singing;  translated  opera  libretti ;  m. 
von  Woss,  Under  flowering  branches.  SIR  GEORGE  ALEXANDER.  Walter 

Hace   (Thomas)   wrote  "  Musiek's  Cecil  composed  symphony  in  B  flat. 

Monument,"  etc.,  1676;    invented  the  two    services,    a   piano    concerto,    so- 

Dyphone,   a   50-stringed   double   lute,  natas,  and  other  chamber  music,  over- 

and  a  table  organ;    played  lute.     B.  tures  to  "A  Winter's  Tale,"  "Tam- 

about     1619,     Cambridge;     d,    about  ing  of  the  Shrew,"  "  Beppo,"  "Hero 

1709.  and  Leander,"  "  Henry  V,"  "  Othello," 

macEwen     (John     Blackwood)  and  a  Pastoral,  the  cantata  "  Song  of 

composed  symphony  in  A  minor,  or-  a  Sunbeam";  edited  Mozart  and  Bee- 

chestral  suite  in  E,  overtures.  High-  thoven  piano  music  for  the  Popular 

land  Dances  for  orchestra,  piano  so-  Classic  series;    wrote  Reminiscences, 

nata  in  E  minor,  three  string  quartets,  which  appeared  after  his  death;  taught 

Milton's  Hymn  to  the  Nativity  for  soli,  piano  and  conducted  concerts  of  the 

chorus,   and  orchestra;    "Scene  from  Royal  Academy  of  Music;    pupil  of 

Hallas,"  female  chorus  and  orchestra;  his  brother,.  SIR  GEORGE  ALEXAN- 

"  The  Last  Chantey,"  chorus  and  or-  DER,  of  W.  R.  Holmes,  and  Cipriani 


chestra ;  taught  harmony  and  composi- 
tion Royal  Academy  of  Music,  Lon- 
don, 1898 ;  M.A.,  Glasgow,  F.R.A.M. ; 
pupil  Royal  Academy  of  Music.     B. 


Potter.    B.  Aug.  28,  1826;   d.  Sept  2, 
1905. 

MacGibbon    (William)    composed 
"  Six  Sonatas  for  a  German  Flute  or 


April  13,  1869,  Hawick;   add.  London.  Violin,"  Edinburgh,  1740;   played  vio- 

Macfarren  (Dr.  Sir  George  Alex-  lin;     conducted     Edinburgh     Gentle- 

ander)  composed  the  "  Devil's  Opera,"  men's  Concerts ;  pupil  of  William  Cor- 

London  Lyceum,  1838;  "Don  Quixote,"  bett.    B.Edinburgh;    d.  Oct.  3,  1756, 

Drury  Lane,   London,    1846 ;    "  Robin  Edinburgh. 

Hood,"  1860,  and  in  all  13  operas,  of       MacGlashan   (Alexander)   played 

which  nine  were  produced;    the  ora-  violin   and   'cello _;     gave   concerts   in 

torios  "St.  John  the  Baptist,"  "Jo-  Edinburgh;    published  "A  Collection 

seph,"   "King   David,"   "The   Resur-  of  Strathpey  Reels,"   1780;    "A  Col- 

rection,''  eight  symphonies,  overtures  lection  of  Reels,"  1786 ;  "  A  Collection 

to  "  The  Merchant  of  Venice,  "  Romeo  of  Scots  Measures,"   1781.     D.   1797, 

and    Juliet,"     "Hamlet,"     "Chevy  Edinburgh. 

23 


lEACatXCEIN 


354 


IIACEENZIE 


MacGuckin  (Barton)  sang  ten.  in 
English  opera  with  Carl  Rosa  Com- 
pany, debut  as  Thaddeus,  Sept.  10, 
1880,  Birmingham,  at  English  festi- 
vals and  concerts;  became  director  of 
the  Dublin  Amateur  Operatic  and 
Choral  Society,  1905;  in  boyhood 
chorister  at  Armagh  Cathedral,  and 
later  ten.  at  St.  Patrick's,  Dublin.  B. 
Dublin,  July  28,  1852;    add.  Dublin. 

Uachalatb.  Heh.  Obscure  term 
occurring  in  the  titles  of  Psalms  liii 
and  Ixxxviii  which  may  have  meant 
either  that  they  were  to  be  sung  to 
flute  accompaniment  or  to  a  time 
named  Machalath. 

Kachete.    Small  Portuguese  guitar. 

Machicot.  Fr.  Ecclesiastic  who 
sang  the  embellished  plain-song  or 
machicotage. 

ICachicotage.  Florid  ornament  in- 
troduced into  plain-song  in  the  Ro- 
man Catholic  Cathedrals  of  France 
causing  the  diflFerence  between  pure 
Gregorian  and  the  so-called  Galilean 
chants.  The  Latin  term  was 
Macicotaticum. 

Uachine-Iiead.  Rack  and  pinion 
appliance  which  replaces  the  ordinary 
tuning  pegs  in  guitars  and  double- 
basses. 

Machol  or  Mahhol.  Beh.  Word 
associated  in  the  Bible  with  Toph 
(timbrel  or  drum),  and  which  may 
have  been  the  name  of  the  flute  or 
pipe. 

Uacbwerk.  Cter.  A  laboured 
composition. 

Uacirone  (Clara  Angela)  com- 
posed a  suite  for  piano  and  violin  in 
E'  minor,  songs,  an  anthem,  a  Te 
Deiui,  a  Benedictus;  played  piano; 
taught  music  in  London  schools;  con- 
ducted a  vocal  society  called  "The 
Village  Minstrels " ;  pupil  of  the 
Royal  Academy  of  Music.  B.  London, 
Jan.  21,  1821. 

Mackay  (Angus)  compiled  "A 
Collection  of  Ancient  Piobaireachd  or 
Highland  pipe  music,"  1838;  wrote 
"  ^e  Piper's  Assistant " ;  became 
piper  to  Queen  Victoria.  Drowned  in 
the  Nith,  near  Dumfries,  Mar.  21, 
1859. 

Mackenzie  (Sr.  Sir  Alexander 
Campbell)  composed  the  opera  "Co- 


lomba,''  the  orchestral  ballad  "La 
Belle  Dame  sans  Merci,"  the  comic 
opera  "  His  Majesty,"  the  descriptive 
suite  for  orchestra,  "  London  Day  by 
Day,"  a  Veni  Creator  Spiritus,  the 
oratorio  "Rose  of  Sharon,"  the  can- 
tata "  The  Bride  " ;  conducted  the  No- 
vello  oratorio  concerts,  the  London 
Philharmonic  concerts,  1892-99;  be- 
came principal  of  the  Royal  Academy 
of  Music  on  the  death  of  Sir  G.  A. 
Macfarren,  1888;  was  knighted,  1886; 
received  the  degrees  Mus.  Dr.,  D.C.L., 
and  LL.D.  from  St.  Andrews,  Cam- 
bridge, Glasgow,  McGill,  and  Leeds. 
Fourth  in  descent  from  a  family  of 
musicians  in  Edinburgh,  young  Mac- 
kenzie was  sent  to  Schwarzeburg- 
Sondershausen,  where  he  studied  vio- 
lin with  Ulrich  and  theory  with  Stein, 
playing  under  the  latter  gentleman  in 
the  ducal  orchestra,  and  becoming 
familiar  with  the  scores  of  Berlioz, 
Liszt,  and  Wagner.  Returning  to 
Edinburgh,  he  was  soon  in  London  as 
a  pupil  of  Sainton,  on  whose  advice 
he  competed  for  and  won  the  King's 
scholarship  in  the  Royal  Academy  of 
Music.  He  played  occasionally  in  or- 
chestra and  chamber  concerts,  and 
became  conductor  of  the  Scottish 
Vocal  Music  Association  in  1873,  and 
precentor  in  St.  George's  church. 
"  Cervantes,"  an  overture  which  was 
his  flrst  important  composition,  was 
produced  by  von  Bulow,  launching 
Mackenzie  as  a  composer;  but  hard 
work  during  the  next  three  years  in- 
jured his  health,  and  he  settled  in 
Florence,  making  only  occasional 
visits  to  England  until  his  appoint- 
ment to  the  Royal  Academy  of  Music 
forced  him  to  abandon  his  residence 
there.  Mackenzie  conducted  the  per- 
formance of  "St.  Elizabeth"  which 
induced  Liszt's  last  visit  to  England, 
and  introduced  Tschaikowsky's  "  Sym- 
phony Pathetique"  to  the  English 
public.  In  1903  he  made  a  success- 
ful tour  of  the  Dominion  of  Canada 
as  a  "  prima  donna  conductor." 
Other  important  works  to  be  noted 
are:  two  Scottish  Rhapsodies  for  or- 
chestra, a  Canadian  Rhapsody  for  or- 
chestra, London  Philharmonic  Soci- 
ety,   1905;    the    cantatas    "Jason," 


KACKIITTOSH 


355 


MABKID 


"  The  Dream  of  Jubal,"  "  The  Witch's 
Daughter,"  Leeds  Festival,  1904; 
"The  Cottar's  Saturday  Night,"  for 
chorus  and  orchestra;  the  oratorio 
"Bethlehem";  the  operas  "The  Trou- 
badour," Carl  Rosa  Company,  Drury 
Lane,  June  8,  1886;  "The  Cricket  on 
the  Hearth,"  the  comic  opera  "Phoebe," 
"Pibroch,"  suite  for  violin,  Op.  42; 
violin  concerto.  Op.  32;  the  operetta 
"Knights  of  the  Road,"  Palace  The- 
atre, London,  Feb.  27,  1905;  Morris 
Dance  and  Processional  March  for  or- 
chestra. B.  Edinburgh,  Aug.  22,  1847 ; 
add.  London. 

Jffiackintosb.  (John)  played  bas- 
soon in  London  and  provincial  orches- 
tras. B.  1767,  London;  d.  Mar.  23, 
1844,  London. 

Mackintosh.  (Kobert)  composed 
four  books  of  airs,  minuets,  reels, 
gavottes,  and  strathpeys;  played  vio- 
lin; known  as  "Red  Bob"  and  the 
teacher  of  Nathaniel  Gow.  B.  Athole ; 
d.  1807,  London.  Abraham  composed 
dance  music  published  as  "  Thirty-two 
new  Strathpey  Reels,"  Edinburgh, 
1792;  pupil  of  his  father  ROBERT. 
B.  June  15,  1769,  Edinburgh;  d.  New- 
castle-on-Tyne. 

KEaclean  (Charles)  composed 
"Twelve  Solos  or  Sonatas  for  a  Vio- 
lin and  Violoncello,"  Edinburgh,  1737. 

UacLeod  (Peter)  composed  "O! 
why  left  I  my  hame  ? "  and  other 
popular  Scotch  songs  which  were  pub- 
lished as  "  Original  National  Melodies 
of  Scotland,"  1838 ;  "Original  Scottish 
Melodies,"  "New  National  Songs,"  the 
last  in  aid  of  the  Burns  monument. 
B.  May  8,  1797,  West  Calder,  Mid- 
lothian; d.  Bonnington,  near  Edin- 
burgh, Feb.  10,  1859. 

KacBEurdie  (Joseph)  composed 
glees  and  songs ;  Mus.  B.,  Oxford, 
1814.  B.  London,  1792;  d.  Dec.  23, 
1878,  Merton,  Surrey. 

ICacpherson  (Charles)  composed 
the  overture  "Cridhe  an  Crhaidhil," 
quartet  in  E  flat  for  piano  and  string, 
a  Highland  suite  for  orchestra,  a 
"Hallowe'en"  suite;  Psalm  cxxxvij, 
and  the'  prize  glee  "There  sits  a 
bird  " ;  taught  harmony  and  counter- 
point. Royal  Academy  of  Music,  where 
he  had  won  the  Lucas  prize,  1892 ;   in 


boyhood,  chorister  at  St.  Paul's.  B.  May 
10,  1870,  Edinburgh;  add.  London. 

Macpherson.  (Charles  Stewart) 
composed  a  symphony  in  C,  mass  in 
D  for  solo,  chorus,  and  orchestra,  two 
overtures,  concerto  alia  fantasia  for 
violin  and  orchestra,  services,  songs, 
piano  pieces;  conductor  Westminster 
Orchestral  Society,  1885-1904;  wrote 
text-books  on  theory;  taught  Royal 
Academy  of  Music,  where  he  had  been 
a  pupil;  played  organ.  B.  Mar.  29, 
1865,  Liverpool;    add.  London. 

SCacque,  de  (Jean)  composed  mad- 
rigals; became  royal  chapelmaster  at 
Naples ;  pupil  of  Philip  de  Monte.  B. 
Flanders;  lived  in  Rome,  1576-82; 
publications  dated  Naples,  1576-1613. 

ICadin  or  Madden  (Henri)  com- 
posed motets;  chapelmaster  at  Tours 
Cathedral,  later  to  the  French  court 
in  succession  to  Campra.  B.  1698, 
Verdun;  nephew  of  Bishop  Madden 
of  Kilmacduagh;    d.  1748,  Versailles. 

Madriale.     It.    Madrigal. 

Madrialetto.    It.    Short  madrigal. 

Madrid  Conservatorio  de  Musica 
y  Declamacion  taught  music  in  all 
branches,  besides  serving  as  a  school 
for  opera  and  the  stage.  In  1908  the 
students  of  music  of  all  classes  num- 
bered 992,  and  for  the  previous  year 
the  income  from  all  sources  had 
reached  95,922  pesetas.  Prizes  and 
scholarships  are  awarded  after  a 
series  of  examinations  and  public  con- 
certs in  which  the  more  advanced 
students  take  part.  The  conservatory 
was  founded  by  Queen  Maria  Cris- 
tina,  1830,  and  has  continued  to  grow 
and  prosper  under  royal  auspices.  It 
is  governed  by  a  royal  commissioner, 
in  1908,  Ilmo.  Sr.  Don  Tomas  Breton 
y  Hernandez,  assisted  by  an  advisory 
council  of  the  professors.  The  faculty 
in  1908  consisted  of  the  following 
full  professors,  given  in  the  order  of 
seniority,  the  first  having  been  ap- 
pointed in  1874:  Victor  de  Mirecki 
y  Lamarel,  'cello;  Luis  Font  y 
Mirapeix,  trumpet;  Manuel  Gon- 
zfilez  .Val,  clarinet;  TomSs  Garcia 
Coronel,  trumpet  and  cornet;  Antonio 
Sos  y  Mezquiriz,  solfege;  Jos6Trag6 
y  Arana,  piano;  Fermln  Ruiz  Es- 
cob€s,      oboe;      Francisco      Gonz&Iez 


MADBID 


356 


mABBIGAIi   SOCIETY 


Maestre,  flute;  Enrique  Fernfindez 
Arbds,  violin;  Valentin  de  Arln  y 
Goenaga,  harmony;  Valentin  Zu- 
biaurre  y  Urionabarrenechea,  ensem- 
ble; Joafi  Eeventos  y  Trueh,  solfege; 
Mme.  Carolina  Casanova  y  Rodriguez, 
singing;  Juste  Blasco  y.  CompSns, 
singing;  Jos6  Maria  Fernandez  de 
Valderrama,  solfege;  Antonio  Mora- 
gas  y  Llombart,  lyric  declamation; 
Emilio  Serrano  y  Ruiz,  counterpoint, 
fugue,  etc.;  Mme.  Pilar  Fernandez  de 
la  Mora,  piano;  TomSs  Fernandez 
Grajal,  counterpoint,  fugue,  etc.; 
Pablo  Hernandez  y  Salces,  solfege; 
Manuel  Fernandez  Grajal,  piano; 
Ignacio  Agustin  Campo  y  Castro,  har- 
mony; Mme.  Laura  Romea  y  Parra, 
solfege;  Pedro  Fontanilla  y  Minam- 
bres,  harmony;  Antonio  Fernandez 
Bordas,  violin;  Jos6  del  Hierro  y 
Palomino,  violin  and  viola;  Fran- 
cisco Javier  Jimenez  Delgado,  piano; 
Raimundo  Juan  Jos6  Torres  y  Garcia, 
doublebass;  Mme.  Vicenta  Tormo  y 
Serrano,  harp;  Nicolas  Garcia  Al- 
mazan,  trombone;  Pascual  Fananas 
y  Trol,  bassoon;  Assistant  pro- 
fessors: Mme.  Natalia  del  Cerro  y 
Maroto,  piano;  Avelino  Fernandez  de 
la  Sierra,  violin;  Mme.  Teresa  Sar- 
miento  y  Revuelta,  piano;  Tomas 
Lestan  y  Gonzalez,  violin;  Andrgs 
Monge  y  Marohamalo,  piano;  Mme. 
Enriqueta  Dutrieu  y  Blanco,  piano; 
Jose  Mondgjar  y  Mendoza,  piano; 
Mme.  Paula  Lorenzo  de  Miguel  Garay 
Perlado,  piano;  Mme.  Maria  Penal- 
ver  y  Boixados,  piano;  Robustiano 
Montalban  de  la  Cruz,  piano;  Satur- 
nino  Sainz  del  Castillo,  piano;  Mme. 
Sofia  Salgado  y  Reymundo,  piano; 
Mme.  Maria  de  los  Dolores  Rodriguez 
y  Aguilar,  piano;  Mme.  Dolores  Ca- 
sanova y  Garrido,  piano;  Jos6  Maria 
Guervds  y  Mira,  piano;  Venancio 
Monge  y  Marchamalo,  piano;  Miguel 
Santonja  y  Cant6,  harmony;  Antonio 
Cardona  y  Garcia,  piano;  Mme.  Ma- 
tilde  Torregrosa  y  Jorda,  solfege; 
Joa6  Moreno  Ballesteros,  organ  and 
harmonium.  Section  of  Declamation: 
Fernando  Diaz  de  Mendoza  y  Aguado, 
Juan  Comba  y  Garcia,  Mme.  Maria 
Alvarez  Tubau,  Enrique  Rodriguez 
Sanchez  Soils.     The  secretary  of  the 


administration  in  1908  was  Sr.  Don 
Servulo  Calleja  y  Gonzalez.  This  in- 
stitution has  exerted  a  powerful  influ- 
ence on  the  musical  art,  not  only  of 
all  Spain  but  likewise  of  Portugal  and 
the  Latin-American  countries,  and 
has  promoted  a  multitude  of  musical 
organizations  in  all  parts  of  the  Pen- 
insula. Madrid  has  been  the  chief  seat 
of  opera  in  Spain  for  nearly  two  cen- 
turies, and  possesses  a  splendid  Boyal 
Opera  House,  which  shares  the  honors 
with  that  of  Barcelona.  There  are 
numerous  societies  in  the  Capital 
which  give  concerts  of  choral,  orches- 
tral, and  chamber  music. 

MadrigaL  Secular  song,  consist- 
ing of  a  short  pastoral  or  love  poem, 
set  in  contrapuntal  style  for  two  or 
more  voices  without  instrumental  ac- 
companiment, cultivated  by  mediaeval 
church  musicians,  and  naturally  con- 
structed in  the  church  Modes.  With 
the  decay  of  minstrelsy  the  art  of 
music  was  left  wholly  to  the  church. 
It  seems  probable  that  the  early  Flem- 
ish composers  were  the  first  to  develop 
the  madrigal,  but  it  is  certain  that  the 
first  publications  were  made  in  Italy, 
about  1501,  and  that  imitators  sprang 
up  in  every  part  of  Europe,  with  the 
result  that  a  wealth  of  polyphonic 
vocal  music  was  created  nearly  equal 
to  that  which  grew  up  about  the 
Mass.  The  diflSculty  with  which  mod- 
ern singers  perform  these  works  is 
proof  that  the  art  of  singing  had 
reached  its  highest  perfection  before 
the  birth  of  instrumental  music. 

Xadrigal  Society,  founded  in  Lon- 
don by  John  Immyns,  1741,  gave  con- 
certs at  which  madrigals  were  per- 
formed, a  supper  was  served,  and  the 
evening  was  frequently  concluded  with 
catches  and  other  lighter  vocal  music. 
The  original  membership  was  16.  In 
1908  the  membership  was  restricted 
to  40,  the  society  continued  to  flour- 
ish, and  claimed  to  have  the  longest 
continuous  history  of  any  musical  or- 
ganization in  the  world.  In  the  last 
generation  the  Earl  of  Beauchamp, 
Otto  Goldschmidt,  Sir  Arthur  Sulli- 
van, Lord  Alverstone,  and  Sir  Fred- 
erick Bridge  served  as  president,  and 
the  musical  directors  were  Otto  Gold- 


HAESTA 


35r 


IlIAHILLON 


Schmidt,  Sir  John  Stainer,  and  Sir 
Frederick  Bridge. 

lEaesta  or  IVEaestade.   It.  Majesty. 

Maestevole.    It.    With  majesty. 

Maestoso.     It.    Majestic. 

Maestrale.     It.    Stretto  of  fugue. 

Maestria.     /*.    Mastery,  skill. 

Maestro  del  Coro.  /*.  Chorus  con- 
ductor or  chapelmaster. 

Maestro  di  Capella.  It.  Chapel- 
master. 

Magadis.  Obsolete  Greek  instru- 
ment having  20  strings;  Lydian 
double  flute. 

Magadize.  Qr.  To  play  the  Mag- 
adis ;    to  play  octaves. 

Magas  or  Magada.  Bridge  of  the 
monochord  or  other  stringed  instru- 
ment ;    fret. 

Maggini  (Giovanni  Paolo)  made 
violins,  violas,  and  'cellos  vchich  are 
highly  valued  for  both  beauty  and 
tone;  learned  his  craft  with  Gasparo 
da  Salo,  but  evolved  a  superior  model 
of  his  own,  and  was  probably  first  to 
use  corner  blocks  and  linings.  B. 
1581,  Brescia;    d.  1628,  Brescia. 

Maggiolata.     It.    May  Song. 

Maggiore.    It.    Major. 

Iffaggot.  Impromptu  fantasy  or 
whimsical  air. 

Magic  Fute.  The  English  name  of 
W.  A.  Mozart's  opera  "  ZAUBER- 
LOTE." 

Magnard  (Lucien  Gabriel  Denis 
Alberic)  composed  the  operas  "  Yo- 
lande,"  Brussels,  1892;  "  Guercoeur," 
both  to  his  own  libretti ;  "  Hymne  9. 
la  Justice,"  Op.  14;  "Hymne  k  Venus," 
Op.  17;  three  symphonies,  a  suite  in 
ancient  style,  violin  sonata.  Op.  13; 
chamber  music;  pupil  of  Dubois  and 
Massenet,  Paris  Conservatoire,  later 
of  Vincent  d'Indy.  B.  June  9,  1865, 
Paris;    add.  Paris. 

Magnificat  anima  mea  Domi- 
num.  L.  "My  soul  magnifies  the 
Lord."  The  Song  of  Mary  forms  the 
most  important  Canticle  of  the  Ves- 
per Service  in  the  Roman  Catholic 
Church,  and  of  Evening  Prayer  jn 
the  Anglican  Church.  In  both  there 
are  rich  polyphonic  settings  as  well 
as  the  Plain-Song  melodies  to  which 
it  may  be  sun?. 

Magpie    Madrigal    Society    was 


founded  in  London,  1886,  as  the  out- 
growth of  a  chorus  organized  for 
charity  concerts  by  Sir  Alfred  Scott 
Gatty  under  the  auspices  of  Viscoun- 
tess Folkstone  (Countess  of  Radnor). 
Lionel  Benson  then  became  conductor, 
and  in  1908  the  membership  was 
about  200.  Princess  Louise  (Duchess 
of  Argyll)  was  the  first  president, 
and  was  succeeded  in  this  office  '  by 
Sir  Hubert  Parry. 

Magrepha.  Organ  described  in  the 
Talmud  as  of  the  2d  century,  having 
10  pipes  played  by  a  keyboard. 

Magyars.  The  dominant  race  of 
Hungary,  although  established  there 
since  the  9th  century,  is  of  Oriental 
origin,  having  descended  from  the 
Scythians,  who  had  immigrated  from 
Mongolia.  The  Magyars  were  there- 
after the  chief  landowners,  and  the 
Gypsies,  another  race  of  Oriental  ex- 
traction, became  the  musicians,  re- 
flecting in  what  has  come  to  be  known 
as  Magyar  or  Hungarian  music  the 
idioms  of  either  race.  As  a  result  the 
folk  music  often  follows  a  system  of 
intervals  more  nearly  akin  to  Asia 
than  to  Western  Europe,  is  frequently 
syncopated,  and  possesses  peculiari- 
ties of  ornamentation  as  well  as 
rhythm  both  charming  and  distinctive. 
Haydn  was  the  first  great  composer  to 
employ  Magyar  themes,  an  example 
followed  by  Joachim  and  Brahms  and 
notably  bv  Liszt,  whose  Rhapsodies, 
"Hungaria"  and  "St.  Elizabeth," 
have  spread  the  fame  of  Magyar  music 
throughout  the  world. 

Mahillon  (Charles)  founded  a  firm 
in  Brussels,  1836,  to  manufacture 
wind  instruments.  B.  1813;  d.  1887. 
Victor  wrote  "  Les  Elements  d'Aeous- 
tique  Musicale  et  Instrumentale," 
1874;  became  honorary  curator  of  the 
museum  of  the  Brussels  Conservatory, 
1876,  where  he  increased  the  collection 
of  instruments  from  the  nucleus  of  78 
left  by  F6tis  to  more  than  500;  made 
models  of  all  wind  instruments  in  use 
in  the  16th  and  17th  centuries;  con- 
tinued and  enlarged  the  business  es- 
tablished by  his  father  CHARLES. 
B.  Mar.  10,  1841,  Brussels;  add.  Brus- 
sels. The  firm  is  now  managed  in 
Brussels  by  his  brother  Joseph,  while 


UAHLER 


358 


IIAJOB 


the  London  branch  is  under  the  direc- 
tion of  Fernand,  the  youngest  brother. 

Mabler  (Oustav)  composed  the 
fairy  play  "  Das  Klagende  Lied,"  the 
opera  "  Die  Drei  Pintos,"  after  von 
Weber's  sketch;  three  symphonies; 
conducted  the  opera  at  Cassel,  1885- 
86;  Leipsic,  1888-91;  Royal  Pest 
Opera,  1891-97;  Hamburg  City  The- 
atre 1897 ;  conductor  and  director  Im- 
perial Vienna  Opera;  chief  conductor 
Metropolitan  Opera  House,  New  York, 
1907-8;  pupil  of  Bruckner  at  the 
Vienna  Conservatory.  B.  July  7,  1860, 
Kalischt,  Bohemia;    add.  Vienna. 

HahooiL  (Joseph)  made  harpsi- 
chords for  the  English  court,  1759. 

Mahu  (Stephen)  composed  secular 
songs  and  a  five-part  setting  of  Lu- 
ther's "Ein  Feste  Burg"  hymn,  1544; 
was  probably  court  singer  to  Arch- 
duke Ferdinand  at  Vienna. 

Kaichelbeck  (Eranz  Anton)  com- 
posed eight  sonatas  for  clavier,  wrote 
a  theoretical  work,  works  illustrated 
with  preludes  and  fugues  published  as 
"  Die  auf  dem  Clavier  Lehrende  Ca- 
cilia,  Augsburg,  1737;  prebendary  of 
the  Cathedral,  Freiburg,  Breisgau. 
B.  Reichenau,  near  Constance,  1702; 
d.  June  14,  1750,  Freiburg. 

Kaid  of  Artois.  Michael  William 
Balfe's  three-act  comic  opera,  to  book 
by  Bunn,  was  first  performed  May  27, 
1836,  at  Drury  Lane,  London. 

Uaid  of  Honor.  Michael  William 
Balfe's  three-act  comic  opera,  to  book 
by  Fitzball,  was  first  performed  Dec. 
20,  1847,  at  Drury  Lane,  London. 

Halliard  (Jean)  composed  the 
song  "  Je  suis  desherit^e,"  themes  of 
which  appear  in  Palestrina's  "  Sine 
nomine"  (No.  3),  two  other  masses, 
an  eight-part  Patrem,  chansons,  and 
church  music  in  all  forms;  probably 
pupil  of  Josquin  des  Pres;  publica- 
tions dated  Paris,  1557-59. 

Kaillart  (Louis  Aime)  composed 
"Les  DRAGONS  DE  VILLARS," 
Paris  Op€ra  Comique,  1856,  "Moulin 
des  Tilleuls,"  1849;  "La  Croix  de 
Marie,"  1852;  "  Gastibelza,"  1847; 
"Les  Pecheurs  de  Catane,"  1860; 
"Lara,"  1864;  the  cantatas  "La  voie 
sacrfie,"  "Le  Aoflt  15  ";  pupil  of  the 
Paris  Conservatoire,  where  he  won  the 


prix  de  Rome,  1841,  with  his  "  Lionel 
Foscari."  B.  Mar.  24,  1817,  Paris;  d. 
May  26,  1871,  Moulins,  AUiers. 

Main.    Fr.    The  hand. 

KTainzer  (Joseph)  wrote  "  Singing 
for  the  Million,"  1842,  and  other  edu- 
cational books;  taught  singing,  Paris, 
Edinburgh,  Manchester;  founded  and 
edited  the  Manchester  "  Musical 
Times  " ;  composed  the  unsuccessful 
operas  "  Triomphe  de  la  Pologne  "  and 
"  La  Jacquerie  " ;  in  boyhood  choris- 
ter Treves  Cathedral,  where  he  was 
ordained  to  the  priesthood,  1826.  B. 
Treves,  1801;  d.  Nov.  10,  1851, 
Manchester. 

Maitland  (J.  Alexander  Fuller) 
edited  revisions  of  Grove's  "  Diction- 
ary of  Music";  wrote  "Masters  of 
German  Music,"  1894;  criticisms  for 
the  London  "Times";  lectured; 
M.  A.,  Trinity  College,  Cam.,  1882.  B. 
April  7,  1856,  London;    add.  London. 

Ualtre  de  Chapelle.  Fr.  Choir- 
master or  chapelmaster. 

jyHaitre  de  Chapelle.  Ferdinando 
Paer's  two-act  opgra  comique  was  first 
performed  March  29,  1821,  at  the 
Theatre  Fredeau,  Paris.  A  one-act 
version  became  popular  later,  both  in 
German  and  in  English. 

Maitrise.  Music  school  attached 
to  French  cathedrals  and  other  im- 
portant churches,  in  which  choristers, 
organists,  and  other  musicians  were 
trained.  There  were  400  such  institu- 
tions in  France  prior  to  the  Revolu- 
tion, by  which  they  were  abolished. 
Many  such  schools  were  to  be  found  in 
France  in  1908,  where  they  were  still 
useful  in  training  singers,  although 
the  Paris  Conservatoire  was  the  chief 
establishment  for  the  cultivation  of 
music  in  France. 

SEajestatisch.     Oer.     Majestic. 

Uajeur.    Fr.    Major. 

Hajo  (Oian  Francesco)  composed 
"  Riccimero,"  Naples,  1759 ;  "  Cajo 
Fabricio,"  "  Ifigenia  in  Tauride,"  and 
other  operas;  church  and  chamber 
music.  B.  1740,  Naples;  d.  Jan.  18, 
1771,  Rome. 

Major.  L.  "  Greater,"  as  opposed 
to  Minor  or  "  Lesser."  Major  scales 
are  those  in  which  a  major  third  (in- 
terval of  four  semitones)    occurs  in 


UAI. 


359 


KALTEN 


ascending  from  the  tonic  j  while  the 
minor  scales  involve  a  minor  third 
(three  semitones).  A  major  tone  has 
the  ratio  8 : 9  while  a  minor  tone  has 
the  ratio  9 :  10. 

Mai.     Oer.    Time. 

Ualbrook  s'en  va-t-en  Querre  was 
sung  by  the  French  soldiers  after  the 
battle  of  Malplaquet,  both  author  and 
composer  being  now  unknown.  Marie 
Antoinette  revived  its  popularity,  and 
it  was  employed  as  typical  of  the 
French  army  by  Beethoven  in  his 
"  Battle  Symphony."  An  English 
modification  of  the  air  has  been  long 
popular  to  the  words  "  For  he 's  a 
jolly  good  fellow." 

Malcolm  (Alexander  )wrote  an  ex- 
cellent "  Treatise  on  Music,"  which 
was  the  first  to  be  published- in  Scot- 
land, 1721.  B.  1687,  Edinburgh;  d. 
Edinburgh. 

Malek  Adel.  Sir  Michael  Costa's 
three-act  opera,  to  book  by  Count 
Pepoli,  was  first  performed  Jan.  14, 
1837,  at  the  Paris  Theatre  des  Italiens. 

Malherbe  (Charles  Theodore) 
composed  incidental  music  for  "  Les 
yeux  clos,"  comic  operas,  orchestral 
and  chamber  music;  wrote  "Precis 
d'histoire  de  TOpfira  Comique,"  1887; 
"  Histoire  de  la  Seconde  Salle  Fa- 
vart";  crowned  by  the  Acad^mie, 
1892-93;  made  the  most  important  of 
modem  private  collections  of  musical 
autographs;  became  archiveste  to  the 
Paris  Op«ra,  1899.  B.  April  21,  1863, 
Paris;    add.  Paris. 

Malibran  (Maria  Felicita)  pos- 
sessed a  con.  voice  with  a  superadded 
sop.  register,  which  she  used  with  such 
intelligence  and  spirit  as  to  become 
the  most  celebrated  woman  singer  of 
her  generation.  Daughter  of  the 
famous  ten.  and  impresario  MANUEL 
GARCIA,  who  was  her  chief  instruc- 
tor, she  played  a  child's  part  in  Naples 
at  five  in  Paer's  "  Agnese,"  and  under- 
took the  prima  donna's  r6le,  to  the 
delight  of  the  audience.  Herold  gave 
her  some  lessons  on  the  piano,  and  she 
bad  some  singing  lessons  from  Fan- 
seron  in  childhood,  but  in  1816  she 
accompanied  her  family  to  Paris, 
studied  with  her  father,  and  made  her 
operatic    debut    in    London,    June    7, 


1825,  where  she  received  ,$2500  for  a 
six  weeks'  engagement.  The  family 
then  removed  to  New  York,  where  the 
singer  was  heard  with  great  enthusi- 
asm. Her  marriage  to  Malibran,  a 
French  merchant,  took  place  Mar.  25, 

1826,  against  her  wishes,  and  when 
her  husband  became  bankrupt  shortly 
afterwards,  she  fled  to  Paris.  There 
she  became  a  favourite  singer  at  the 
Italian  opera,  and  began  a  series  of 
triumphal  engagements  in  London, 
Naples,  Milan,  receiving  a  contract  for 
185  performances  at  La  Scala  with 
450,000  francs  compensation.  In  1830 
she  formed  an  attachment  for  Charles 
de  Beriot,  with  whom  she  established 
a  home  near  Brussels,  marrying  him 
after  securing  a  divorce  from  Mali- 
bran, 1836.  While  filling  an  engage- 
ment in  London,  Mme.  Malibran  fell 
from  a  horse,  and  despite  the  severe 
injuries  which  resulted,  persisted  in 
singing  without  respite  until  the  fol- 
lowing autumn,  when  her  illness  de- 
veloped fatally  during  the  last  festival 
at  Manchester.  B.  Mar.  24,  1808, 
Paris;   d.  Sept.  23,  1836,  Manchester. 

Maliconia,  con.  It.  With  melan- 
choly. 

Malinconicamente.  It.  Melan- 
cholia, sadness. 

Malinconioso.  It.  Sadly,  sorrow- 
fully. 

Mallinger  (Mathilda)  sang  sop.  in 
opera,  debut,  as  "  Norma,"  1866,  Mu- 
nich, creating  Eva  in  the  "  Meister- 
singer,"  June  21,  1868.  In  1869  she 
joined  the  Berlin  opera,  where  she 
managed  to  dethrone  Lucca,  then  the 
favourite  singer,  retaining  her  place 
until  1882,  with  occasional  visits  to 
Vienna,  St.  Petersburg,  Moscow,  and 
Munich.  From  1890  to  1895  she 
taught  singing  in  Prague,  then  join- 
ing a  Berlin  music  school.  B.  Feb.  17, 
1847,  Agram  Croatia;  m.  Baron  von 
Schimmelpfennig  von  der  Oye;  add. 
Berlin. 

Malten  or  Miiller  (Th€rgse)  sang 
sop.  in  opera,  debut  at  Dresden,  1873, 
where  she  continued  30  years,  with 
occasional  appearances  in  Vienna, 
London,  Berlin,  and  at  Bayreuth, 
where  she  sang  "Kundry";  pupil 
of  Gustav  Engel,  Berlin.    B.  June  21, 


KALVEZZI  360  MANCINELLI 

1855,    Insterburg,    Eastern    Prussia ;  of  the  activities  of  the  management  of 

add.  Dresden.  the  Gentlemen's  Concerts,  which  date 

Malvezzi    (Cristofano)    edited    a  back  at  least  to   1745.     An  amateur 

collection  of  dramatic  intermezzi  per-  orchestra    furnished    the    instrument 

formed  at  the  wedding  of  Ferdinand  de  music  of  the  Gentlemen's  Concerts 

Medici    and    Christina    de    Lorraine,  until  1850,  when  Charles  Hall6  became 

1589,  containing  works  by  Peri,  Bardi,  the  leader.    Seven  years  later  arrange- 

Marenzio,    Cavalieri,   as   well   as   his  ments  for  a  permanent  orchestra  were 

own;  composed  five-part  madrigals  and  perfected,  and  with  the  exception  of 

organ  music;    canon  of  San  .Lorenzo  the  season  of  186(J-61,  when  no  con- 

and  chapelmaster  to  the  Grand  Duke  certs  were  given,  Hall€  was  in  charge 

of  Tuscany.    B.  June  27,  1547,  Lucca;  during  the  remainder  of  his  life.    On 

d.  Florence.  the  death  of  Sir  Charles  Hall€,  1895, 

Malzel    (Jobann    Nepomuk)    im-  Sir  Arthur  Sullivan,   Sir   C.  Villiers 

proved  StSckel's  musical  chronometer,  Stanford,  Dr.  F.  H.  Cowen,  Sir  A.  C. 

for  which  he  obtained  a  letter  of  rec-  Mackenzie,  Dr.   Brodsky,  and  George 

ommendation  from   Beethoven,   after-  Henschel   conducted  the   first   season, 

wards  appropriated  Winkel's  invention  and  in  1896-97  Dr.  Cowen  was  sole 

of  the  METRONOME,  which  he  pat-  conductor.      Thereafter    the    concerts 

ented  and  manufactured  in  Paris  as  his  were  conducted  by  Dr.  Richter.    Now 

own  from  1816.    In  early  life  a  music  known  as  the  Halle  concerts,  these 

teacher,  Malzel  invented  an  automatic  were  in  1908  the  most  important  in 

instrument  which  played  fiutes,  trum-  Manchester.      An    orchestra    of    100, 

pets,  strings,  drums,  etc.,  which  he  sold  chorus  of  400,  and  20  concerts  were 

for    3000    francs,    and   then   made    a  given  in  Manchester  and  many  more 

larger  one  which  also  imitated  clari-  in    surrounding   cities,     manchester 

nets,    violins,    and    'cellos.      This    he  Philharmonic    Choral   Society   was 

called    the    Panharmonicon.      Having  established    in     1880    by    G.    Brand 

bought    Kempelen's    automatic    chess  Lane,  filling  the  place  of  the  earlier 

player,  he  exhibited  these  and  other  Manchester  Choral  Society  and  of  the 

mechanical  inventions,  which  won  him  Hargreaves  Choral  Society.    The  mem- 

an  appointment  at  the  Vienna  court,  bership  was  600,  from  which  a  selected 

In  Vienna  he  met  Beethoven,  for  whom  chorus    gave    six    concerts    annually, 

he  made  an  ear  trumpet,  and  to  whom  Manchester      Boyal      College      of 

he  suggested  the  plan  of  the  "Battle  Music    was    founded    in    1893,    Sir 

Symphony."     A  quarrel  with  Beetho-  Charles  Hallg  being  the  first  principal, 

ven  over  the  ownership  of  this  piece  his  successor  being  Dr.  BRODSKY.    It 

culminated  in  a  law  suit,  but  when  is  afiiliated  with  Manchester  Univer- 

Malzel  returned  to  Vienna  with  his  sity,  whence  students  pass  for  their 

Metronome,  1817,  the  matter  was  com-  degrees  in  music.     The  institution  is 

promised.     The  remainder  of  Malzel's  chartered,     endowed,     has    numerous 

life  was  spent  in  touring  and  exhibit-  scholarships,  and  is  under  the  patron- 

ing  his  inventions,  and  he  made  two  age  of  the  Queen  of  England, 
visits  to  the  West  Indies  and  one  to       Manchicourt,    de    (Pierre)    com- 

the  United  States,  finally  dying  aboard  posed  19  books  of  motets,  29  chansons, 

the  American  ship  Otia.    B.  Ratisbon,  masses;     canon   of   Arras  and  choir- 

Aug.  15,  1772;   d.  July  21,  1838.  master    Tournai    Cathedral.      B.    Be- 

Mammets.     Puppet  shows,  which  thune,     Artois;     publications     dated 

were  usually  accompanied  by  dulcimer  1539-45. 
™^'''-                         '  Mancinelli  (Luigi)  composed  the 

Mancando.    /*.    Decreasing,  dying  operas  "Ero  e  Leandro,"  Madrid,  Nov. 

"''^■S?'     ■..         r,  30,  1897,  later  at  Covent  Garden,  Lon- 

Manche.      Fr.      Neck    of    viol    or  don,  and  Metropolitan  Opera  House, 

guitfr.  New  York;  "Isora  di  Provenza,"  Bo- 

Manehester  Festivals  were  given  logna,  1884;    intermezzi  to  the  plays 

from  1828  to  1836,  chiefly  as  a  result  "Messalina,"    "Cleopatra"     (Cossa), 


KAITCIITI 


361 


MANNEBS 


the  oratorios  "  Isaias,"  Norwich  Festi- 
val, 1887,  "Saint  Agnes,"  Norwich 
Festival,  1905 ;  conducted  Royal  Opera 
at  Madrid,  Covent  Garden,  London; 
Metropolitan  Opera  House,  New  York. 
'Cello  pupil  of  Sbolci,  Florence,  at  12, 
young  Mancinelli  soon  obtained  em- 
ployment at  La  Pergola,  and  in  1874 
went  to  the  Apollo,  Rome,  in  the  same 
capacity,  where  his  first  opportunity 
to  conduct  occurred  by  accident.  His 
success  in  this  theatre  led  to  his  ap- 
pointment as  principal  of  the  Liceo, 
conductor  at  the  Teatro  Comunale  and 
chapelmaster  at  San  Petronio,  Bo- 
logna, where  he  remained  until  1886, 
when  he  visited  London  and  gained 
employment  as  composer  and  con- 
ductor. Besides  the  works  named  he 
composed  two  masses  and  other  church 
music.  B.  Feb.  5,  1848,  Orvieto;  add. 
London. 

Hancini  (Erancesco)  composed 
"  Hydaspes "  and  in  all  20  operas, 
oratorios;  directed  the  Conservatorio 
di  San  Loreto,  Naples,  where  he  had 
been  a  pupil.  B.  about  1674,  Naples; 
d.  1739,  Naples. 

llancinus  (Thomas)  composed  two 
Passions,  motets,  madrigals,  and  Ger- 
man secular  songs  in  four  and  five 
parts;  chapelmaster  and  librarian  to 
the  Duke  of  Brunswick.  B.  Schwerin, 
1550;    d.  about  1620,  Wolfenbttttel. 

mandolin.  Small  instrument  of 
the  lute  family,  but  with  a  deeper  res- 
onance box,  having  a  fretted  neck,  and 
played  with  a  plectrum.  The  Milanese 
Mandolin  has  five  pairs  of  strings. 
The  Neapolitan,  which  is  more  gener- 
ally used,  has  four  pairs  of  strings, 
attuned  to  g,  d',  a',  e".  The  serenade 
in  Mozart's  "  Don  Giovanni  "  is  scored 
for  mandolin,  and  Beethoven  wrote  a 
sonatina  for  it. 

Handolina  or  Handola.  It. 
Mandolin. 

Blandora  or  Kandola.  It.  A 
larger  variety  of  mandolin  now  nearly 
obsolete. 

Manhattan  Opera  House,  New 
York,  which  in  1908  continued  to 
rival  the  claims  of  the  METROPOLI- 
TAN as  the  chief  lyric  theatre  of  the 
United  States,  was  erected  by  OSCAR 
HAMERSTEIN,   and  opened   Deo.   3, 


1906,  with  the  performance  of  "Gio- 
conda,"    Mme.    Nordica   in    the    title 
role.     Melba,   Tetrazzini,   Mary   Gar- 
den, and  Bonci  were  among  the  lead- 
ing   singers,    CAMPANARI    was    the 
conductor,  and  with  young  blood,  a 
good  orchestra,  fairly  adequate  stage 
settings,    the     production     of     many 
works    new    to    America,    including 
"  Pell€as  et  Mfilisande,"  the  new  enter- 
prise   had    achieved    in    1908    what 
promised    to   be   permanent    success. 
The  Manhattan  fronts  on  West  34th 
street,  has  a  seating  capacity  of  3000 
and  is  so  arranged  that  a  view  of  the 
stage  is  possible  from  every  part  of 
the  house. 
Hanica.    It.    Fingering. 
Maniohord.     CLARICHORD. 
Manico.     NECK.    MANCHE. 
Maniera.      It.      Manner,    style, 
method. 
lyCanigre.    It.   Manner,  MANIERA. 
Manieren.       Ger.      AGREMENS, 
graces. 

Hann  (Dr.  Arthur  Henry)  com- 
posed the  oratorio  "  Ecce  Homo,"  1882, 
Te  Deum,  1887,  services,  anthems;  ed- 
ited Tallis's  "  Forty-part  Song,"  1888 ; 
played  organ;  chorusmaster  Norwich 
Festival,  1902.  B.  May  16,  1850,  Nor- 
wich;   add.  Norwich. 

Hannergesangverein.  Oer.  Male 
singing  society. 

ilanners  (Charles)  founded  the 
Moody-Manners  Opera  Company,  1898, 
which  gave  grand  opera  in  English  in 
Great  Britain,  in  1902  and  1903  at 
Covent  Garden,  and  in  1904  at  Drury 
Lane,  London,  and  in  1906  an  operatic 
festival  in  Sheffield  for  the  benefit  of 
the  university.  Manners  sang  for  some 
years  with  the  Carl  Rosa  Company; 
visited  America  in  1893;  joined  the 
Harris  forces  in  London,  1894,  and 
made  a  successful  tour  of  South  Africa 
in  English  opera,  1896-97.  Bertram  in 
"Roberto,"  Gremin  in  "Eugene  Onie- 
gen,"  the  King  in  "  Lohengrin "  and 
"  Maritana,"  and  MephistopheleS  were 
his  chief  rSIes.  Son  of  Col.  Mansergh, 
J.  P.  for  Cork  and  Tipperary,  the  name 
Manners  was  adopted  for  professional 
purposes  at  the  beginning  of  the  career 
just  outlined.  B.  Dec.  27,  1857,  Lon- 
don.    Fanny   Moody   sang   sop.   in 


HANNS 


362 


MANON  XESCAXTT 


opera,  debut  as  Arline,  Liverpool, 
1887,  with  the  Carl  Rosa  Company, 
and  as  Micsela,  Drury  Lane,  London, 
later  acquiring  such  rSles  as  Elsa, 
Elizabeth,  Briinnhilde,  Juliet,  and 
Senta.  Pupil  of  Mme.  Sainton-Dolby, 
she  aided  her  husband  in  the  establish- 
ment of  the  operatic  venture  bearing 
their  name  and  contributed  to  its  suc- 
cess. B.  Nov.  23,  1866,  Redruth,  Corn- 
wall; m.  CHARLES  MANNERS,  July 
5,  1890;    add.  London. 

Manns  (Sir  August  Eriedrich.) 
conducted  the  Crystal  Palace  band, 
London,  1855-1901,  the  Handel  Festi- 
val, 1883-90,  the  Sheffield  Festivals  of 
1896  and  1899,  giving  prominence  to 
the  works  of  young  English  composers 
throughout  his  career.  Son  of  a  glass 
blower,  an  amateur  musician  who 
formed  a  quintet  in  his  own  family, 
Manns  early  acquired  some  knowledge 
of  the  violin,  clarinet,  and  flute,  and 
was  apprenticed  to  Urban,  town  musi- 
cian of  Elbing,  where  he  had  some 
opportunity  of  orchestral  practice.- 
Then  he  entered  a  regimental  band 
at  Dantzig,  played  violin  in  the  theatre, 
and  began  to  arrange  and  compose 
music.  Finally  he  obtained  a  trans- 
fer to  Gungl's  Orchestra  in  Berlin, 
and  then  became  solo  violinist  and 
conductor  at  KroU's  Garden,  Berlin. 
From  1851  to  1854  he  served  as  regi- 
mental bandmaster,  and  then  joined 
the  Crystal  Palace  band  as  assistant 
conductor.  He  was  knighted  in  1903. 
B.  Mar.  12,  1825,  Stolzenberg,  near 
Stettin;    add.  London. 

Manon  Lescaut.  J.  F.  F.  E. 
Halfivy's  three-act  ballet  was  first  per- 
formed May  3,  1830,  at  the  Paris 
Op€ra.  Michael  William  Balfe's  opera 
was  first  performed  in  Paris,  1836. 
Daniel  F.  E.  Auber's  three-act  opera, 
to  book  by  Scribe,  was  first  performed 
Feb.  23,  1856,  at  the  Paris  Opfira  Com- 
ique.  Jules  E.  F.  Massenet's  three- 
act  opera,  to  book  by  Meilhac  and 
Gille,  was  first  performed  Jan.  19, 
1884,  at  the  Paris  Opfira  Comique. 
The  first  act  represents  an  inn,  at 
which  Manon  arrives  under  the  es- 
cort of  her  cousin  Lescaut,  who  is 
charged  with  placing  her  in  a  convent. 
Guillot  Monfontaine,  an  old  beau,  is 


smitten  with  her  charms,  but  she  meets 
the  Chevalier  des  Grieux,  with  whom 
she  immediately  falls  in  love  and 
elopes.  Bretigny  and  Lescaut,  the 
former  another  of  Manon's  lovers, 
reach  Paris  in  the  second  act,  search- 
ing for  the  missing  beauty.  Manon 
has  already  wearied  of  Grieux,  and 
although  he  promises  to  marry  her, 
decides  that  he  is  not  wealthy  enough 
to  provide  the  luxuries  she  craves, 
and  on  learning  that  a  scheme  is  afoot 
to  tear  Grieux  from  her,  readily  con- 
soles herself  by  taking  up  with  Bre- 
tigny. The  third  act  represents  an 
open  air  f§te  in  the  gardens  of  the 
Cours  de  la  Reine,  at  which  Manon 
and  Bretigny  are  enjoying  themselves. 
Manon  learns  that  Grieux  is  about  to 
enter  the  church.  Her  passion  for 
him  revives,  she  finds  him  at  the 
Seminary  of  St.  Sulpice,  and  prevails 
upon  him  to  abandon  the  sacred  pro- 
fession and  return  to  her.  In  the  last 
act  Grieux  and  Guillot  are  gambling. 
Manon  watches  the  play,  and  grows 
more  and  more  affectionate  toward 
Grieux  as  he  wins  Guillot's  money. 
But  Guillot,  in  order  to  revenge  him- 
self upon  Manon,  has  made  charges 
which  result  in  a  raid  by  the  police, 
and  Grieux  and  Manon  are  placed 
under  arrest.  Grieux  is  saved  from 
ignominy  by  his  father's  money,  but 
Manon  is  sentenced  to  deportation, 
and  dies  of  exhaustion  in  her  lover's 
arms  while  on  the  road  to  Havre. 
This  opera,  known  simply  as  "Manon," 
was  sung  at  the  New  York  Academy 
of  Music,  Dee.  23,  1885;  in  English, 
by  the  Carl  Rosa  Company  the  same 
year,  and  later  in  French  at  Covent 
Garden,  London.  Giacomo  Puccini's 
four-act  opera  to  the  title  "Manon 
Lescaut"  was  first  performed  Feb.  1, 
1893,  at  Turin.  In  Puccini's  opera, 
which  professes  to  adhere  with  as 
much  fidelity  as  dramatic  form  per- 
mits to  Abbe  Prgvost's  novel  of  the 
same  title,  Manon,  in  charge  of  her 
brother  Lescaut,  meets  Des  Grieux, 
who  is  destined  for  the  church,  de- 
serts him  for  Geronte  de  Ravoir,  the 
old  voluptuary,  but  after  her  arrest, 
Des  Grieux  manages  to  get  aboard 
the  ship  in  which  Manon  is  deported 


MANTITJS 


363 


MAKAIS 


to  America.  The  third  and  last  act, 
therefore,  takes  place  on  "  a  vast  plain 
on  the  borders  of  the  territory  of  New- 
Orleans."  The  climate  of  the  new 
world  does  not  agree  with  Manon,  who 
is  overcome  with  fever.  She  dies,  and 
Des  Grieux  falls  senseless  over  her 
body. 

Mantius  (Eduard)  sang  ten.  in 
opera,  excelling  in  the  rSles  of  Gluck 
and  Mozart;  debut  Berlin,  1830;  friend 
of  Mendelssohn,  for  whom  he  sang  the 
leading  rSle  in  "  Heimkehr  aus  der 
Premde "  at  the  silver  wedding  of 
Mendelssohn's  parents.  B.  Jan.  18, 
1806,  Schwerin;  d.  July  4,  1874, 
Umenau,  Thuringia. 

Ilantiia  was  the  home  of  the 
Accademia  Invaghiti,  founded  by 
Duke  Cesare  Gonzaga,  1564,  for  the 
cultivation  of  poetry  and  music,  and 
possessed  a  large  theatre  in  which 
Italian  plays  were  presented  as  early 
as  1494. 

SEanual.     Keyboard  or  clavier. 

Uanualiter.  To  be  played  upon 
the  manual  alone. 

SCanuductor.  One  who  beats  time 
by  striking  the  hands  together. 

SEanzuoli  (Oiovanni)  sang  sopran- 
ist  rSles  in  opera,  Madrid,  in  1753, 
under  Farinelli,  London,  1764-65,  then 
in  Vienna ;  became  court  singer  to  the 
Grand  Duke  of  Tuscany.  B.  about 
1725,  Florence;    d.  Florence. 

SCaonietto  Secondo.  Gioacchini  A, 
Rossini's  opera  first  performed  during 
the  carnival  of  1820  at  the  San  Carlo, 
Naples,  was  recast  as  the  "  Sifege  de 
Corinthe,"  iinder  which  title  it  be- 
came more  widely  known. 

Kapleson  (James  Henry)  man- 
aged opera  at  the  New  York  Academy 
of  Music,  1875  to  1885,  with  fair  suc- 
cess, although  meeting  with  failure 
in  1886;  began  his  career  as  impres- 
ario in  1861  at  the  Lyceum,  London, 
the  following  year  assuming  control 
of  Her  Majesty's  Theatre,  then  of 
Drury  Lane  until  1868,  when  he  formed 
a  partnership  with  Gye  in  the  man- 
agement of  Covent  Garden;  resumed 
control  of  Drury  Lane,  1871,  exchang- 
ing the  management  for  that  of  Her 
Majesty's  Theatre,  1877,  where  he  gave 
opera  for  several  seasons.     In  early 


life  Mapleson  was  a  pupil  of  the  Royal 
Academy  of  Music,  played  viola,  and 
became  assistant  to  E.  T.  Smith  in  the 
management  of  Italian  opera  at  Her 
Majesty's  Theatre.  B.  May  4,  1830, 
London;  d.  Nov.  14,  1901,  London. 

Hara  (Gertrude  Elizabeth)  sang 
sop.  in  the  court  opera  of  Frederick 
the  Great,  1771-80,  later  with  great 
success  throughout  Europe,  compass 
g"  to  e"'.  Daughter  of  the  musician 
Schmeling,  who  taught  her  violin, 
she  gave  concerts  in  Vienna  at  nine, 
where  the  English  ambassador  gave 
the  father  letters  of  introduction  to 
friends  in  London.  The  Queen  and 
ladies  of  the  English  court  petted  the 
child,  suggested  that  she  give  up  the 
violin  as  being  too  masculine,  and  ar- 
ranged for  her  to  study  singing  with 
Faradies.  Later  she  studied  with 
Hiller  in  Leipsic,  and  made  her  debut 
at  Dresden.  Her  engagement  at  the 
Prussian  court  followed,  and  there, 
against  the  advice  of  her  friends,  she 
married  Mara,  the  'cellist,  who  squan- 
dered her  money  and  abused  her  until 
she  divorced  him.  Leaving  Berlin, 
she  sang  in  Vienna,  then  at  Munich,  at 
the  Handel  Commemoration  in  Lon- 
don, at  Turin,  Venice,  and  in  London, 
1802,  when  her  benefit  netted  her 
$5000.  She  then  settled  in  Moscow 
as  a  teacher,  lost  her  property  in  the 
fire  of  1812,  and  is  said  to  have  sung 
in  London  as  late  as  1819.  Mara  had 
suflFered  from  rickets  in  childhood 
and  was  never  strong  enough  to  sit 
through  a  concert.  B.  Feb.  23,  1749, 
Cassel;  d.  Jan.  20,  1833,  Revel,  Li- 
vonia. See  biographies  by  Rochlitz 
and  G.  C.  Grosheim. 

IVIarais  (ICarin)  composed  "  Al- 
eione,"  1706,  "  Semele,"  1709,  and 
other  successful  operas,  to  books  by 
A.  H.  de  la  Motte;  sinfonies  for 
violin,  viol,  and  harpsichord;  played 
viol  da  gamba  in  the  court  orchestra, 
and  Academic  de  Musique,  where  he 
became  assistant  conductor.  B.  Mar. 
31,  1656,  Paris;  d.  Aug.  15,  1728, 
Paris.  Jean.  Louis  composed  two 
books  of  "Pieces  de  Viole";  wrote 
"Nouvelle  Methode  de  Musique,"  1711 ; 
played  violin  in  royal  orchestra;  one 
of  the  nineteen  children  of  MARIN. 


3IABBECK 


364 


MABCHETTI 


Uarbeck  or  Merbeoke  (John)  pre- 
pared and  published  "  The  Booke  of 
Common  Praier  noted,"  1550,  in  which 
the  Plain-Song  of  the  Latin  ritual  was 
adapted  to  the  first  Prayer  Book  of 
Edward  VI ;  played  organ  St.  George's 
Chapel,  Windsor.  In  early  life  Mar- 
beck,  then  a  lay  clerk  at  St.  George's, 
was  condemned  to  the  stake  for  heresy, 
but  a  pardon  was  obtained  by  Bishop 
Gardiner  from  Henry  VIII.  He  pub- 
lished a  number  of  religious  works 
during  the  reign  of  Elizabeth.  B. 
1523;    d.  about  1585,  Windsor. 

Marcando.  /*.  "  Marking,"  as  to 
time  or  expression. 

Marcatissiztio.     It.    Very  marked. 

Harcato.  /*.  Marked  or  empha- 
sized. 

]y[arceIlo  (Benedetto)  composed  50 
psalms  for  from  one  to  four  voices 
with  instrumental  accompaniment, 
Venice,  1724-27;  concertos,  the  opera 
"  Fede  rioonosciuta,"  the  cantata 
"  Arianna,"  and  the  oratorio  "  Giu- 
ditta,"  to  his  own  words;  pupil  of 
Lotti  and  Gasparini;  noble  and  offi- 
cial of  Venice.  B.  1686,  Venice;  d. 
July  24,  1739,  Brescia. 

lAarch.  Music  to  accompany 
marching  is  generally  in  4-4,  but 
sometimes  in  2-4,  3-4,  or  6-8  time. 
The  pace  varies  with  the  purpose  of 
the  composition  from  the  extremely 
slow  Funeral  or  Dead  Marc^  to  the 
Quickstep,  which  implies  about  108 
steps  to  the  minute  and  the  Sturm 
Marsch  or  Pas  de  Charge,  with  120 
steps  per  minute.  The  drum  in  all 
cases  is  of  the  utmost  importance  in 
defining  the  rhythm. 

Marchand  (Louis)  composed  or- 
gan and  harpsichord  music  and  the 
unperformed  opera  "  Pyramus  et 
Thisbe  " ;  became  court  organist  at 
Paris,  then  at  Dresden,  where  he  was 
held  in  high  favour  until  Johann  Se- 
bastian Bach  played  there  and  chal- 
lenged him  to  a  contest,  whereupon 
Marchard  fled  to  Paris  and  taught, 
receiving  the  fee  of  a  louis,  or  about 
$5  per  lesson.  B.  Feb.  2,  1669,  Lyons; 
d.  Feb.  17,  1732,  Paris. 

IVEarcIie.     Fr.     March. 

Iffiarche  Redoublee.  Fr.  Double 
quick  march. 


Marclie  Triomphale.  Fr.  Tri- 
umphal march. 

Marcbesi  (Luigi)  sang  sopranist 
rSles,  debut  Rome,  1774,  later  in  the 
principal  opera  houses  of  Italy,  at 
Vienna,  Berlin,  London,  and  St. 
Petersburg,  retiring  in  1808.  B.  1755, 
Milan;    d.  Dec.   18,   1829,  Milan. 

Marcbesi  (Mathilda  de  Castrone) 
sang  mez.  sop.  in  concerts,  and  be- 
came one  of  the  most  celebrated  of 
modern  vocal  teachers;  joining  the 
Vienna  Conservatory,  1854,  .establish- 
ing herself  at  Paris,  1861,  but  remov- 
ing to  Cologne  in  1865,  where  she 
taught  in  the  Conservatory  until  1868, 
when  she  resumed  her  old  post  at 
Vienna.  There  she  served  10  years, 
then  gave  private  lessons,  and  settled 
in  Paris,  1881.  Her  "Ecole  de  Chant" 
was  published  in  1861,  Paris,  and  she 
has  since  published  a  "  Methode,"  24 
books  of  vocal  exercises,  and  her  remi- 
niscences as  "  Marchesi  and  Music," 
1897.  Born  Graumann,  daughter  of 
a  wealthy  merchant  of  Frankfort-am- 
Main,  she  was  the  pupil  of  Nicolai 
and  Garcia,  and  adopted  music  as  a 
profession  when  Herr  Graumann  lost 
his  fortune.  Among  her  pupils  were 
the  singers  de  Murska,  Fricci,  Kraus, 
Gerster,  and  her  daughter  BLANCHE. 
B.  Mar.  26,  1826;  m.  SALVATORE, 
1852;  add.  Paris.  Salvatore  Cava- 
liere  de  Castrone,  Marcbese  Delia 
Bajata  sang  bar.  in  opera,  debut  New 
York,  1848,  in  "Ernani,"  later  pupil 
of  Garcia,  in  Paris;  became  success- 
ful concert  singer  and  teacher  in  Lon- 
don; wrote  books  on  music;  trans- 
lated French  and  German  libretti  into 
Italian;  composed  songs;  Knight  of 
St.  Maurice  and  of  St.  Lazarus.  Son 
of  a  Governor-General  of  Sicily,  he 
was  a  guardsman  in  early  manhood, 
but  studied  with  Raimondi,  Lamperti, 
and  Fontana;  later  was  obliged  to 
leave  Italy  on  the  failure  of  the 
revolutionary  movement,  1848.  B. 
Jan.  15,  1822,  Palermo;  add.  Paris. 
Blanche  sang  sop.  in  concerts  and 
occasionally  in  opera,  notably  as 
Brunnhilde,  Prague,  1900;  pupil  and 
assistant  to  her  mother  MATHILDE. 
M.  Baron  Caccamisi;    add.  Paris. 

Slarchetti  (Pilippo)  composed  the 


UABCHETTO 


365 


HABIANI 


operas  "Gentile  da  Verano,"  Turin, 
1856;  "La  Demente,"  "II  Paria," 
"Romeo  e  Giulietta,"  "  Ruy  Bias," 
La  Scala,  Milan,  April  3,  1869 ;  "  Gus- 
tavo Wasa,"  "  Don  Giovanni  d'  Aus- 
tria," Turin,  1880;  became  president 
of  the  Reale  Aceademia  di  Santa  Ce- 
cilia, Rome,  1881,  and  director  of  the 
Liceo  Musicale;  pupil  of  the  Real 
CoUegio  di  San  Pietro  a  Majella, 
Naples.  B.  Feb.  26,  1831,  Bolognola, 
Macerata;    d.  Jan.  18,  1901,  Rome. 

Marchetto  da  Padova  wrote  "Luoi- 
darium  in  arte  musicae  planae  "  and 
"  Pomerium  artis  musicae  mensura- 
bilis  "  between  1274  and  1309,  which 
were  reprinted  in  Gerbert's  "  Scrip- 
tores  " ;  musician  to  the  court  of 
Prince  Rainier  of  Monaco. 

Marchi,  de  (Chevalier  Emilio) 
created  the  rdle  of  Mario  Cavaradossi 
in  Puccini's  "  Tosca,"  Rome,  1900; 
sang  at  Metropolitan  Opera  House, 
New  York,  1901-2;  debut  as  Al- 
freddo,  Milan,  1896;  pupil  of  Landi. 
B.  1866,  Voghera,  Piedmont;  real 
name  Peano;    add.  Milan. 

SEarchisio  (Barbara)  sang  con.  in 
opera  at  Vienna,  Turin,  Paris,  and 
London;  pupil  of  Fabbrioa.  B.  Dec. 
12,  1834,  Turin;  retired  upon  her 
marriage.  Carlotta  sang  sop.  in 
opera;  debut  Milan;  later  with  her 
sister  BARBARA;  pupil  of  Fabbrica. 
B.  Dec.  6,  1836;  m.  Eugen  Kuhn;  d. 
June  28,  1872,  Turin. 

ICarcia.    /*.    MARCH. 

]VEarechal  (Charles  Henri)  com- 
posed the  operas  "  Les  Amours  de 
Catherine,"  Opfira  Comique,  1876; 
"  La  Taverne  des  Trabans,"  which  won 
the  Monbinne  prize,  1876,  Op6ra  Com- 
ique, 1881 ;  "  Deidamie,"  Paris  Op6ra, 
1893;  "Calendal,"  Rouen,  1894; 
"Ping-Sin,"  1895;  "  Daphnis  et 
Chloe,"  1899;  incidental  music,  songs, 
the  sacred  drama  "Le  Miracle  de 
Nairn,"  "La  Nativite";  pupil  of  the 
Paris  Conservatoire,  where  he  won 
the  prix  de  Rome,  1870,  with  his  can- 
tata "Le  jugeraent  de  Dieu";  be- 
came inspector-general  of  musical 
education,  1896.  B.  Jan.  22,  1842, 
Paris;    add.  Paris. 

Marenzio  (Lucca)  composed  an 
eight-part  mass,  Neapolitan  Villanelle, 


motets,  and  159  madrigals,  the  publi- 
cation of  which  in  the  collection  called 
"  Musica  Transalpina,"  1588,  prob- 
ably led  to  the  cultivation  of  similar 
works  in  England  (Burney) ;  was 
court  musician  to  the  King  of  Poland; 
later  a  singer  at  the  papal  chapel  in 
Rome,  where  he  lived  on  terms  of  in- 
timacy with  Cardinal  Aldobrandino, 
the  Pope's  nephew,  and  is  said  to  have 
died  of  a  broken  heart  because  of  a 
hopeless  love  a£fair  with  a  lady  be- 
longing to  the  Pope's  family.  B.  about 
1550,  Coccaglia,  near  Brescia;  d.  Aug. 
22,  1599,  Rome. 

mareschall  (Samuel)  published  a 
four-part  choral  book,  Basle,  1606; 
organist  to  city  and  university  of 
Basle.  B.  Tournai,  1554;  d.  after 
1640,  Basle. 

Maretzek  (Slax)  became  conductor 
of  the  New  York  opera  at  the  Astor 
Place  Theatre,  1845,  imder  the  man- 
agement of  E.  P.  Fry,  whom  he  suc- 
ceeded as  impresario;  continued  to 
conduct  and  manage  operatic  enter- 
prises in  New  York  until  1870;  com- 
posed and  taught  music.  B.  J\me  28, 
1821,  Brunn,  Moravia;  d.  May  14, 
1897,  Pleasant  Plains,  Staten  Island, 
New  York. 

IXaria  de  Bohan.  Gaetano  Doni- 
zetti's three-act  opera  was  first  per- 
formed June  5,  1843,  at  Vienna. 

Mariani  (Angelo)  became  the  most 
famous  of  modern  Italian  conductors; 
composed  a  Requiem  for  Christian 
VII  of  Denmark,  the  operas  "  La 
Fidanzata  del  guerriero "  and  "  Gli 
Bsuli "  for  the  Sultan,  at  Constanti- 
nople, several  collections  of  popular 
songs.  Pupil  of  Rossini  at  the  Liceo 
Filharmonico,  Bologna,  he  became 
first  violin  and  conductor  of  the  or- 
chestra at  Messina,  1844,  court  con- 
ductor at  Copenhagen,  1847;  fought 
with  the  Italian  patriots  in  their  revo- 
lutionary attempt  of  1848,  in  conse- 
quence of  which  he  was  obliged  to  go 
to  Turkey,  returned  in  1852,  landing 
at  Genoa,  where  he  was  at  once  ap- 
pointed conductor  at  the  San  Felice, 
and  made  the  orchestra  there  the  most 
celebrated  in  Italy.  In  1864  he  con- 
ducted at  the  Rossini  celebration  in 
Pesaro,  and  in  1871  produced  "Lo- 


UABIA  ANTONIA 


366 


MABKX7LL 


hengrin"  at  Bologna.  B.  Oct.  11,  1822, 
Bavenna;    d.  Oct.  13,  1873,  Genoa. 

llaria  Antonia  Walpurga  (Elec- 
tress  of  Saxony)  composed  the  opera 
"  11  trionfo  della  fidelta,"  Potsdam, 
1753,  to  which  numbers  were  contrib- 
uted by  Frederick  the  Great,  Hasse, 
Graun,  and  Benda ;  "  Talestri,  Kegina 
dell'  Amazone,"  1763;  pupil  of  Fer- 
randini,  Porpora,  and  Hasse.  B.  July 
18,  1724,  Munich;  daughter  of  the 
,  Bavarian  Elector,  afterwards  Emperor 
Charles  VII;  d.  Dresden,  April  23, 
1780. 

Marimba.  Mexican  instrument  of 
the  xylophone  type,  played  with  drum- 
sticks, but  having  a  resonance  box 
attached  to  each  of  the  strips  of  wood 
producing  a  tone,  the  top  of  which 
has  a  perforation  covered  with  parch- 
ment or  bladder.  The  compass  is  five 
octaves  up  from  A. 

Uarimoix  (IKEarie)  sang  sop.  in 
opera  at  the  Paris  Op6ra  Comique  and 
Theatre  Lyrique,  Covent  Garden,  and 
Her  Majesty's,  London;  later  tour- 
ing America  and  northern  Europe; 
pupil  of  Duprez.  B.  Paris  about  1835 ; 
add.  Paris. 

Uarini  (Biagio)  composed  madri- 
gals, church  and  instrumental  music; 
played  violin;  was  in  the  service  of 
the  Dukes  of  Parma  and  Bavaria,  and 
in  1653  of  the  Accademia  della  Morte, 
Ferrara.    B.  Brescia;   d.  1660,  Padua. 

Harino  Faliero.  Gaetano  Donzi- 
etti's  two-act  opera  was  first  performed 
in  1835  at  the  Paris  Theatre  des 
Italiens. 

Mario  (Cavaliere  di  Candia)  sang 
ten.  in  opera;  debut  Nov.  30,  1838,  in 
the  title  rOle  of  "Robert  le  Diable," 
Paris  Opera,  1838,  and  thereafter  with 
brilliant  success  in  London,  the  United 
States,  and  St.  Petersburg,  his  prin- 
cipal r61es  being  Almaviva,  Raoul, 
Genarro.  Of  noble  birth,  Mario,  whose 
father  was  a  general  in  the  army  of 
Piedmont,  adopted  the  military  pro- 
fession, and  was  a  favourite  socially, 
but  finding  himself  hopelessly  in  debt, 
took  lessons  of  Michelet,  Ponchard, 
and  Bordogni,  in  order  to  qualify  as 
a  professional  singer.  He  dominated 
the  opera  for  25  years,  was  the  hus- 
band of  Grisi,  and  with  her  a  member 


of  the  celebrated  quartet  which  in- 
cluded Tamburini  and  Lablanche,  but 
eventually  fell  into  such  poverty  that, 
in  1880,  his  friends  in  London  gave 
him  a  benefit  concert.  B.  Oct.  17, 
1810,  either  at  Turin  or  Genoa;  d. 
Dec.  11,  1883,  Rome. 

Marionette.  It.  "Puppet."  Jo- 
seph Haydn  composed  the  opera 
"  Philemon  et  Baucis  "  for  the  puppet 
theatre  of  Prince  Esterhazy,  and  it 
was  received  with  such  favour  that 
Empress  Maria  Theresa  required  him 
to  perform  it  before  the  court  in  Vi- 
enna. Marionette  shows  retain  their 
popularity  in  Italy,  but  the  only  sur- 
vival in  Great  Britain  and  America 
would  seem  to  be  the  familiar  Punch 
and  Judy  show. 

Maritana.  W.  V.  Wallace's  three- 
act  opera,  to  book  by  Fitzball,  founded 
on  the  play  "  Don  Cesar  de  Bazan," 
was  first  performed  Nov.  15,  1845,  at 
Drury  Lane,  London. 

Mark.  Sign  or  word  used  in  NO- 
TATION to  indicate  the  time,  tone, 
accent,  or  quality  of  a  composition; 
or  the  pace  at  which  it  should  be  per- 
formed as  regulated  by  the  Metronome. 

Markirt.     Ger.    Marcato. 

Markneukirchen  became  one  of 
the  principal  centres  for  the  manu- 
facture of  the  cheaper  sorts  of  vio- 
lins upon  the  foundation  of  the  Guild 
of  Violin  Makers,  1677.  Christian 
Reichel  and  11  other  heads  of  fami- 
lies, chiefly  from  Graslitz,  settled  in 
the  little  Saxon  village  in  order  to 
preserve  their  religious  freedom. 
Their  instruments,  crude  at  first,  were 
improved  by  the  study  of  Italian 
models,  and  latterly  a  genuine  Ger- 
man style  of  instrument  has  been 
evolved.  Strings  are  likewise  manu- 
factured, and  in  1851  those  of  the 
Reichel  Bros,  won  a  gold  medal  at 
the  London  International  Exhibition. 

MarkuU  (Friedrich  Wilhelm) 
composed  the  operas ,  "  Maja  und 
Alpino "  or  "  Die  bezauberte  Rose," 
1843;  "Der  K6nig  von  Zion,"  "Das 
Walpurgusfest,"  1855;  the  oratorios 
"Johannes  der  Taufer,"  "Das  Ge- 
dachtniss  der  Entschlafenen,"  sym- 
phonies, Psalm  Ixxxvi;  conducted; 
played  organ,  Danzig  Marienkirche; 


UABICOITTEL 

wrote  criticism  Danziger  "  Zeitung." 
B.  Keichenbach,  Prussia,  Feb.  17, 
1816;    d.   1887,  Danzig. 

Uariaoiitel  (Antoine  Fransois) 
taught  piano  Paris  Conservatoire, 
where  he  had  been  a  pupil;  wrote 
historical  and  educational  works  on 
music;  composed.  B.  July  18,  1816, 
Clermont-Ferrand;  d.  Jan.  17,  1898, 
Paris. 

Uarpurg  (Eriedricli  Wilhelm) 
wrote  "  Handbuch  bei  dem  General- 
basse  und  der  Composition,"  Berlin, 
1755-62,  an  exposition  of  Kameau's 
theoretical  system;  "  Abhandlung  von 
der  Fuge,"  a  work  on  counterpoint 
which  was  translated  into  French, 
and  other  books  on  musical  history, 
criticism,  and  science.  B.  Nov.  21, 
1718,  Marpurgshof,  Brandenburg;  d. 
May  22,  1795,  Berlin. 

UarquS.    Fr.    Marcato. 

Marriage  of  Figaro.  Title  of  the 
English  version  of  W.  A.  Mozart's 
comic  opera  "NOZZE  DI  FIGARO." 

Marsch.     Oer.    March. 

STarschner  (Heinrich.  August) 
composed  the  operas  "  HANS  HEILr- 
ING,"  "Der  Vampyr,"  "Der  Temp- 
ter und  die  Judin,"  an  overture  on 
"God  Save  the  King,"  performed  in 
honour  of  the  baptism  of  King  Ed- 
ward VII  of  England;  was  joint 
chapelmaster  with  von  Weber  at 
Dresden,  later  chapelmaster  and  gen- 
eral music  director  at  Hanover.  In 
boyhood  Marschner's  talent  as  pianist, 
his  lovely  soprano,  and  some  com- 
positions, brought  him  in  contact  with 
musicians,  but  he  had  no  regular  in- 
struction until  he  settled  in  Leipsic 
as  a  law  student.  There  he  had  les- 
sons 'from  Schicht,  and  in  1816  de- 
termined to  abandon  law  for  music, 
acting  upon  the  advice  of  Rochlitz. 
A  visit  to  Pressburg  and  Vienna  with 
Count  von  Amad€e  led  to  an  acquaint- 
ance with  Kozeluch,  Beethoven,  and 
von  Weber.  At  Beethoven's  sugges- 
tion he  began  to  devote  himself  seri- 
ously to  composition,  and  von  Weber 
produced  his  opera  "  Heinrich  IV  und 
Aubigne  "  at  Dresden,  1820,  and  three 
years  later  he  joined  von  Weber  as 
conductor,  where  he  remained  until 
that  composer's  death,  at  which  time 


36?  ICABSHALL 

he  was  the  music  director.  The 
operas  "Der  Kyffhauserberg "  and 
"  Saidor "  were  produced  during  this 
period.  Marschner's  next  appointment 
was  that  of  chapelmaster  to  the  Leip- 
sic Theatre,  1827,  where  he  produced 
"Des  Falkner's  Braut,"  as  well  as 
"Der  Vampyr"  and  "Der  Templer." 
In  1831  he  became  court  chapelmaster 
at  Hanover,  and  there  produced  the 
most  popular  of  his  operas,  "  Hans 
Heiling,"  which  won  him  an  offer  of 
the  post  of  general  music  director 
at  Copenhagen.  He  declined,  however, 
preferring  to  remain  at  Hanover. 
Other  less  successful  works  to  be  noted 
are:  "Der  Holzdieb,"  "Lucretia," 
"Der  Babu,"  "Das  Schloss  am 
Aetna,"  "  Adolf  von  Nassau,"  besides 
incidental  music  for  "SchSn  Ell," 
"  Die  Hermannsschlacht,"  and  many 
songs  and  choruses.  B.  Zittau,  Sax- 
ony, Aug.  16,  1795;  d.  Dec.  14,  1861, 
Hanover. 

Iffarseillaise.  The  celebrated 
French  patriotic  song  was  written  and 
composed  by  Claude  Joseph  Rouget 
de  I'lsle  in  the  night  of  April  24, 
1792,  and  dedicated  to  Marechal  Luk- 
ner  as  "Chant  de  Guerre  pour  l'arm€e 
du  Rhin."  The  volunteers  centred  in 
Strasburg  had  been  ordered  to  join 
Lukner's  forces,  and  Mayor  Dietrich 
had  expressed  his  regret  to  De  I'lsle, 
captain  in  the  engineer  corps,  that  the 
soldiers  had  no  patriotic  marching 
song.  The  following  day  the  song  was 
sung  in  Dietrich's  house,  arranged  for 
military  band,  and  first  performed  by 
the  National  Guard  Band,  April  29, 
at  a  review.  Mireur  sang  it  at  a 
banquet  at  Marseilles,  June  25,  where 
it  aroused  such  enthusiasm  that  copies 
were  printed  for  a  battalion  of  volim- 
teers  just  ordered  to  Paris,  and  when 
the  Marseilles  troops  entered  the  capi- 
tal, singing  the  song,  it  became  im- 
mensely popular,  and  acquired  its  new 
name. 

Karsh  (John)  composed  two  Ang- 
lican services,  songs,  symphonies, 
chamber  music;  wrote  on  harmony 
and  thoroughbass;  amateur  organist 
and  conductor.  B.  1752,  Dorking;  d. 
1828. 

Uarshall    (William)    composed 


MABSHAIjL 


368 


KABTHA 


Strathspeys;  played  violin;  servant 
to  the  Duke  of  Gordon.  B.  Dec.  27, 
1748,  Fochabers,  Banffshire;  d.  May 
29,  1833,  Dandaleith. 

Marshall  (Dr.  William)  wrote 
"  The  Art  of  Eeading  Church  Music  " ; 
composed  songs,  church  music;  edited 
collections  of  chants;  played  organ 
Christ  Church  Cathedral  and  St. 
John's  College,  Oxford;  later  at  St. 
Mary's  Kidderminster;  in  boyhood 
chorister  in  Eng.  Chapel  Eoyal.  B. 
1806,  Oxford;  d.  Aug.  17,  1875, 
Handsworth.  Charles  Ward  sang 
ten.  in  English  opera  and  concerts. 
B.  1808,  brother  of  DR.  WILLIAM; 
d.  Feb.  22,   1874,  London. 

Uarsick  (Martin  Pierre)  com- 
posed three  concertos  and  smaller  vio- 
lin pieces;  founded  string  quartet  in 
Paris  with  Eemy,  von  Waefelghem, 
and  Delsart,  1877;  succeeded  Massart 
as  violin  teacher  at  the  Conservatoire, 
1892;  toured  America  and  England, 
1895-96;  prize  pupil  of  Li6ge  Coilser- 
vatory,  later  of  the  Paris  Conserva- 
toire under  Massart,  and  finally  of 
Joachim.  B.  Mar.  9,  1848,  Jupille, 
near  LiSge;    add.  Paris. 

Marson  (George)  contributed  the 
five-part  madrigal  "Ye  nimphes  and 
shepheards "  to  the  "  Triumphes  of 
Oriana,"  London,  1601. 

Marteau  (Henri)  composed  the 
cantata  "  La  voix  de  Jeanne  d'Arc," 
for  sop.,  chorus,  and  orchestra,  1896; 
played  violin,  touring  America,  1893 
and  1898,  Russia,  1897-99;  taught 
Geneva  Conservatory,  1900;  founded 
prize  for  violin  sonata  by  American 
composers;  prize  pupil  Paris  Conser- 
vatoire. B.  Rheims,  Mar.  31,  1874; 
add.  Geneva. 

Martele.  Fr.  Notes  "hammered" 
or  strongly  marked.  Passages  so 
marked  in  NOTATION  for  viols  is 
played  with  short,  quick  bow-strokes. 

Martellato.    /*.    MARTELE. 

Martha.  Friedrich  von  Plotow's 
three-act  opera,  founded  on  the  earlier 
ballet  of  which  he  had  been  joint 
composer,  "Lady  Henriette,"  book  by 
St.  G«orges,  German  version  by  Fried- 
rich,  was  first  performed  Nov.  25, 
1847,  at  Vienna,  and  later  with  equal 
success  in  Italian,  English,  and  French 


versions.  In  the  English  version  the 
action  is  laid  in  Richmond  during 
Queen  Anne's  reign.  Lady  Henrietta, 
wearied  of  her  duties  at  court,  dis- 
guises herself  as  a  maid  servant,  and 
accompanied  only  by  Nancy,  her  own 
maid,  and  her  aged  admirer.  Sir  Tris- 
tan, who  is  to  be  known  as  her  cousin 
John,  visits  the  fair  at  Richmond, 
where  as  Martha  she  seeks  employ- 
ment. Plunkett  and  his  brother  by 
adoption,  Lionel,  two  prosperous 
young  farmers,  are  seeking  just  such 
willing  servants  as  Martha  and  Nancy 
profess  to  be.  The  women  jokingly 
accept  the  handsel  or  earnest  money, 
which,  as  the  SheriflF  tells  them,  ac- 
tually binds  them  to  a  year's  service, 
and  are  compelled  to  accompany  the 
farmers  to  their  place,  upon  which 
Sir  Tristan  deserts  them  in  despair. 
In  the  second  act,  which  takes  place 
at  the  farmhouse,  the  new  maids 
prove  utterly  useless  as  servants,  but, 
quite  naturally,  Lionel  falls  in  love 
with  Martha  and  Plunkett  with  Nancy. 
The  women  are  relieved  of  the  com- 
plications which  follow  by  Sir  Tristan, 
who  carries  them  away  in  a  coach, 
leaving  the  young  farmers  disconso- 
late. At  a  court  hunt  the  farmers 
recognize  their  servants  in  the  Queen's 
suite,  but  Lady  Henrietta  and  Nancy 
repudiate  their  claims.  Lionel  tells 
the  whole  stoiy  of  their  transaction 
at  Richmond,  but  is  ordered  to  prison 
by  Sir  Tristan.  Remembering  that 
his  father  had  given  him  a  ring  which 
should  guard  him  from  misfortune, 
Lionel  hands  the  jewel  to  Plunkett, 
with  instructions  to  give  it  to  the 
Queen.  By  this  means  it  is  discovered 
that  Lionel  is  son  and  heir  to  the  late 
Earl  of  Derby,  who  had  been  unjustly 
deprived  of  his  estate,  which  the 
Queen  is  ready  to  restore  to  his  suc- 
cessor. Lady  Henrietta,  who  has 
really  fallen  in  love  with  the  hand- 
some young  farmer,  offers  him  her 
hand,  but  he  refuses  until  she  pre- 
sents herself  at  the  Richmond  Fair, 
again  disguised  as  Martha.  Then,  of 
course,  the  lovers  are  united,  and 
Plunkett  wins  his  Nancy.  The  origi- 
nal cast  included:  Martha,  Anna 
Zerr,     sop.;     Lionel,     Ander,     ten.; 


UABTIN 


369 


MABTUCCI 


Plunkett,  Carl  Formes,  bass.  The  generation,  and  the  arbiter  of  all  mat- 
principal  musical  numbers  are:  Act  ters  pertaining  to  music.  Having 
1:  "Of  the  Knights  so  brave  and  learned  violin  from  his  father,  An- 
charming,"  Martha  and  Nancy;  "Lost,  tonio  Maria,  he  studied  harpsichord 
proscribed,  an  humble  stranger,"  with  Padre  Predieri,  counterpoint  with 
Lionel;  Act  II:  "  When  the  foot  the  Riccieri;  entered  the  order  of  St. 
Wheel  turns  lightly,"  quartet,  the  in-  Francis,  was  raised  to  the  priesthood, 
terpolated  Irish  melody  "The  Last  1722,  and  three  years  later  became 
Rose  of  Summer,"  Martha;  "Mid-  chapelmaster  of  the  church  of  San 
night  Sounds"  (Goodnight  Quartet) ;  Francesco,  Bologna.  Continuing  his 
Act  III :  "  I  want  to  ask  you,"  Plun-  studies  in  music  with  Giaeomo  Perti, 
kett;  "  Like  a  Dream  bright  and  chapelmaster  at  San  Petronio,  and 
fair,"  Lionel;  "Here  in  deepest  forest  mathematics  with  Zanotti,  the  repu- 
shadows,"  Martha.  tation   of   his   learning  brought   him 

Martin  (Br.  Sir  George  Clement)  such   scholars   as   Paolucci,   Ruttini, 

composed  a  Te  Deum  for  Queen  Vic-  Sarto,  Ottani,  and  Mattei.     B.  April 

toria's   Diamond  Jubilee,   songs,   ser-  24,  1706,  Bologna;    d.  Aug.  4,  1784. 

vices ;  taught  Royal  College  of  Music ;  llartini  11  Tedesca  was  the  Italian 

succeeded    Stainer    as    organist     St.  nickname  under  which  Johann  Paul 

Paul's    Cathedral,    1888.      Knighted,  Aegidius    Schwartzendorf    was    best 

1897 ;    pupil  of  J.  Pearson   and  Sir  known  as  a  musician.    He  composed  the 

John  Stainer.     B.  Lambourne,  Berk-  song  "  Plaisir  d'amour,"  "  L'amoureux 

shire,  Sept.  11,  1844;    add.  London,  de  quinze  ans,"  1771,  Paris;  "  Sapho," 

Martin  (George  •William)  com-  1794;  "Henri  IV,"  1774;  "Le  droit 
posed  prize  madrigals,  glees,  part-  du  Seigneur,"  1783,  and  other  operas; 
songs;  conducted  National  Choral  wrote  " Melopfie  moderne,"  a  work  on 
Society,  London,  from  1860;  edited  singing;  was  inspector  of  the  Con- 
part-songs;  taught;  played  organ,  servatoire,  1798-1802;  superintendent 
B.  Mar.  8,  1828;  d.  April  16,  1881,  of  court  music  to  Louis  XVIII,  1814. 
Wandsworth.  Martini   was   organist  at  the   Jesuit 

Martin  (Jonathan)  composed  the  Seminary,  Neustadt,  at  10,  later  to  the 

song  "  To  thee,  O  gentle  sleep,"   for  Franciscans  of  Freiberg.    Arriving  in 

the    tragedy   "Tamerlane";     became  Paris,  1764,  he  attracted  attention  by 

organist,    Eng.    Chapel   Royal,    1736,  winning  a  prize  offered  for  the  best 


where  he  had  been  a  chorister  in  boy- 
hood.. B.  1715;    d.  April  4,  1737. 

Martinez  or  Martines  (Mari- 
anne) composed  the  oratorios  "Isacco,' 
■'  Santa  Elena  al  Calvario,"  other  sa 


march  for  the  Swiss  guard.  B.  Sept. 
1,  1741,  Freistadt,  Palatinate;  d.  Feb. 
10,  1816. 

Martin   y   Solar   (Vicente)   com- 
posed the  opera  "  Una   Cosa  Rara," 


cred  music,   symphonies,   harpsichord    Vienna,  Nov.   11,   1786,  which  for  a 


sonatas;    friend  and  pupil  of  Haydn, 
Metastasio   and  Porpora;     gave   con- 


time  surpassed  in  favour  the  "  Nozze 
di    Figaro"    of   his    rival,    Mozart; 


certs  in  Vienna  and  taught.     B.  May  "  Iflgenia  in  Aulide,"  Florence,  1781 ; 

4,    1744,   Vienna;     d.   Deo.    13,   1812,  "La  Donna  festiggiata,"  Turin,  1783; 

Vienna.  "Imenestra,"  Rome,  1784,  other  operas, 

Martini     (Padre     Giambattista)  church  music,  ballets;    directed  Ital- 

composed  the  oratorios  "  San  Pietro,"  ian  opera  at  St.  Petersburg,  1788;    in 

"  II  Sagrifizio  d'Abramo,"  "  L'Assun-  early  life  chorister  at  Valencia  Cathe- 

zione  di  Salomone  al  trono  d'Israello,"  dral,  then  organist  at  Alicante;  called 

three  masses,  a  litany,  12  sonatas,  a  "Lo  Spagnuolo."    B.  1754,  Valencia; 

requiem,  "  Don  Chisciotto,"  and  other  d.  1810,  St.  Petersburg, 
intermezzi;   wrote  a  History  of  Music,       Martucoi     (Giuseppe)     composed 

2  vols.,  Bologna,  1757-81,  a  work  on  symphonies  No.  1,  D  minor.  Op.  75; 

counterpoint  with  examples,  2  vols.,  No.  2,  F  major,  Op.  81;    quintet  for 

Bologna   1774-75;    played  organ;    be-  piano  and  strings,  Op.  45;    concerto, 

came  the  most  famous  teacher  of  his  B  flat  minor,  piano  with  orchestra, 

24 


MARTY 


370 


MASANIEI.LO 


Op.  66;  concerto  for  piano  with  or- 
chestra, D  minor;  conducted  first 
Italian  performance  of  "  Tristan  and 
Isolde,"  Bologna,  1888 ;  toured  Italy, 
France,  and  Germany,  1874^78,  as  vir- 
tuoso pianist;  Commander  of  the 
Crown  of  Italy,  Knight  of  Sts.  Mau- 
rice and  Lazarus;  director  of  Bo- 
logna Liceo  Musicale,  1886  to  1902, 
when  he  accepted  a  similar  post  at  the 
Koyal  Conservatory  of  Naples,  where 
he  had  been  a  pupil.  B.  Jan.  6,  1856, 
Capua;  son  of  a  bandmaster;  add. 
Naples. 

Marty  (Eugene  Georges)  com- 
posed the  two-act  opera  "  Daria," 
Paris  Opera,  Jan.  27,  1905 ;  "  Le  Due 
de  Ferrare,"  1899,  Theatre  Lyrique; 
the  pantomime  "  Lysic,"  symphonie 
poem  "  Merlin  enchants,"  "  Ballade 
d'Hive";  the  suite  "Les  Saisons"; 
conducted  Paris  Conservatoire  from 
1902;  directed  male  ensemble  classes 
there,  1892-1904;  conducted  Op6ra 
Comique,  1900;  pupil  of  Paris  Con- 
servatoire, where  he  won  the  prix  de 
Rome,  1882,  with  his  cantata  "Edith." 
B.  Mar.  16,  1860,  Paris;   add.  Paris. 

Martyrs.  Gaetano  Donizetti's  four- 
act  opera,  to  book  by  Scribe,  was  first 
performed  April  10,  1840,  at  the  Paris 
Academic,  and  was  an  'adaptation  of 
his  earlier  opera,  "  Poliuto." 

Marx  (Adolph.  Bernhard)  com- 
posed the  opera  "  Jerry  und  Bfttely," 
Berlin,  1827,  "  Moses  "  and  other  ora- 
torios ;  wrote  "  Lehre  von  der  mu- 
sikalischen  Composition"  and  other 
books  on  musical  topics;  founded 
what  later  became  the  Stem  Conser- 
vatory in  Berlin  (with  KuUah  and 
Stern),  1850;  edited  the  "Berliner 
AUgemeine  Musikalische  Zeitung," 
1824,  which  in  seven  years  did  much 
to  create  appreciation  of  Beethoven. 
B.  May  15,  1795,  Halle;  d.  May  17, 
1866,  Berlin. 

Marzsen  (Eduard)  played  piano 
and  organ  in  Hamburg;  taught 
Brahms;  composed  "Beethoven's 
Schatten"  and  other  orchestral  pieces; 
pupil  of  Seyfried  and  Bocklet.  B. 
Nienstadten,  near  Altona,  July  23, 
1806;    d.  Nov.  18,  1887,  Altona. 

Maryland  was  the  title  of  the  song 
written  by  James  Kyder  Bandall  to 


the  tune  "Lauriger  Horatius  "  which 
has  since  become  the  hymn  of  the 
State  of  Maryland,  and  one  of  the 
most  popular  of  Southern  songs  in 
all  parts  of  the  United  States.  It 
expressed  the  resentment  of  the  Con- 
federates at  the  occupation  of  Mary- 
land by  the  Federal  troops,  called 
upon  the  Marylanders  to  "  spurn  the 
Northern  scum,"  and  was  received 
with  great  favor  throughout  the  Con- 
federate army.  Mr.  Bandall  was  then 
a  mere  boy.  He  served  with  the 
Southern  forces  and  then  embarked 
in  journalism,  and  was  still  engaged 
in  that  profession  in  Virginia  in  1908. 

Marylebone  Gardens  were  at- 
tached to  a  London  tavern  originally 
known  as  "  The  Hose  of  Normandy," 
and  occupied  parts  of  what  are  now 
Beaumont  and  Devonshire  streets  and 
Devonshire  Place.  From  about  1669 
to  1776  the  gardens  were  used  for 
various  kinds  of  public  entertain- 
ments, including  concerts  and  buc- 
lettas. 

Masanlello.  Daniel  F.  E.  Auber's 
five-act  opera,  to  book  by  Scribe  and 
Delavigne,  better  known  in  Europe 
as  "  La  Muette  de  Portici  "  or  "  La 
Muta  di  Portici,"  was  first  performed 
Feb.  29,  1828,  at  the  Paris  Academic. 
The  action  takes  place  at  Naples,  the 
first  act  opening  upon  the  wedding 
festivities  of  Princess  Elvira  and  Al- 
phonso,  son  of  the  Duke  of  Arcos. 
Fenella,  a  dumb  girl,  interrupts  the 
gaiety  by  imploring  in  pantomime  pro- 
tection from  one  of  the  nobles  of  the 
court  who  has  caused  her  to  be  im- 
prisoned. Elvira  promises  to  care  for 
Fenella,  who  discovers  her  persecutor 
in  Alphonso.  Unable  to  enter  the 
chapel  where  the  ceremony  is  per- 
formed, Fenella  denounces  Alphonso  to 
his  bride  as  they  return  from  the  altar. 
Masaniello,  brother  of  Fenella,  is  seen 
in  the  second  act  encouraging  the 
fisherman  with  song,  while  they  are 
busy  with  boats  and  nets.  Fenella 
tries  to  throw  herself  into  the  sea, 
but  is  rescued  by  Masaniello.  Still 
in  dumb  show,  the  girl  tells  the  story 
of  her  wrongs,  Masaniello  vows  ven- 
geance, and  urges  his  friends  to  aid 
in  effecting  a  revolution.    The  third 


UASCAGNI 


371 


MASCHEBOKI 


act  represents  the   market  place  of 
Naples.    Selva,  an  officer  of  the  Duke, 
attempts  to  arrest  Fenella,  and  at  a 
signal  from  Masaniello  the  revolt  be- 
gins.   In  the  fourth  act,  Fenella  and 
Masaniello  are  shown  in  their  cottage 
at  the  close  of  day.    Fietro  enters  to 
tell  Masaniello  that  Alphonso  has  es- 
caped, and  Masaniello  and  his  lieuten- 
ant have  hardly  left  the  cottage  when 
Alphonso  and  Elvira  enter,  appealing 
to  Fenella  for  shelter.    The  dumb  girl 
determines  to  save  her  false  lover  and 
his   bride,   and   when   Masaniello   re- 
turns,  he   confirms   her   promise,    al- 
though Fietro  protests.    The  act  closes 
with  the  proclamation  of  Masaniello 
as  King  of  Naples.     In  the  fifth  act 
Masaniello  becomes  insane  from  poison 
administered  by  Fietro,  and  hearing 
that  an  army  is  approaciting  to  attack 
the  city,  rushes  forth  to  lead  his  band 
of   patriots   and   is   killed  in  battle. 
Mt.  Vesuvius  is  in  eruption.    Fenella, 
hearing  of  her  brother's  death,  unites 
Elvira  and  Alphonso  and  plunges  to 
her  death  in  the  burning  lava.     The 
principal  musical  numbers  are :  Act  I : 
"O  bel  Momento,"  Elvira;    Act  II: 
"  Flu  bello  sorse  il  giorno,"  Masani- 
ello ;  "  Sara  il  morir,"  Masaniello  and 
Fietro;   Act  III:    II  pianto  rasciuga," 
Elvira;  "Nume  del  Ciel,"  chorus;  Act 
IV :  "  Dio !   di  me  disponesti,"  Masani- 
ello ;     "  Scendi,    o    sonno    dal    ciel " 
(Slumber  Song),  Masaniello;   Act  V: 
"Ve'    come   il   vento    irato,"    Fietro. 
So  admirably  is  the  Neapolitan  revolt 
of   1647   against  the   foreign  rule  of 
Spain  depicted  in  this  opera  that  its 
performance  in  Brussels,  1830,  is  said 
to  have  occasioned  the  beginning  of 
the  struggle  for  the  independence  of 
Belgium. 

Masoagni  (Pietro)  composed 
"CAVALLERIA  RUSTICANA," 
"IRIS,"  and  other  less  successful 
operas,  "Hymn  in  Honor  of  Admiral 
Dewey,  U.  S.  N.,"  July,  1899,  Schil- 
ler's "Ode  to  Joy,"  incidental  music 
for  Hall  Caine's  play  "The  Eternal 
City";  ranked  with  the  most  suc- 
cessful composers  of  the  "  Young  Ital- 
ian" school.  Mascagni's  first  lessons 
in  music  at  the  Institute  Luigi  Cheru- 
bini  of  bis  native  town,  Leghorn,  were 


obtained  without  the  knowledge  of  his 
father,  a  baker,  who  intended  bringing 
up  his  boy   to  his  own  trade.     The 
intervention  of  an  uncle  made  it  pos- 
sible for  him  to  continue  his  lessons 
after  his  father  discovered  how  he  had 
been  "  wasting "  his  time,  and  a  C 
minor  symphony  and  a  Kyrie  in  cele- 
bration of  Cherubini's  birthday  were 
performed    at    the    Instituto    in    the 
composer's  16th  year.    "In  Filanda," 
composed  when  he  was   18,   received 
honourable  mention  at  a  prize  compe- 
tition for  cantatas  in  connection  with, 
the  International  Exhibition  at  Milan. 
The  "Ode  to  Joy,"   1881,  led  to  an 
offer  from  Count  de  Larderel  to  defray 
Mascagni's  expenses  at  the  Milan  Con- 
servatory.   He  does  not  seem  to  have 
profited  by  the  routine  there,  and  soon 
joined    a    travelling    orchestra    with 
which  he  spent  several  years,  finally 
settling  in  Cerignola  as  a  teacher  in 
the  municipal  music  school.    "  Caval- 
leria  Rusticana  "  won  first  prize  in  the 
competition  arranged  by  the  publisher 
Sonzogno,    1889,   and  was   performed 
May  18,  1890,  at  the  Costanzi  Theatre, 
Rome,  where  its  instantaneous  success 
was  followed  by  performances  through- 
out the  world.    Medals  were  struck  in 
Mascagni's  honour  when  he  revisited 
Leghorn,  and  he  was  made  Knight  of  the 
Crown  of  Italy.    Other  operas  followed 
in  rapid  succession,  "  L'Amico  Fritz," 
"I   Rantzau,"   "  Guglielmo   Ratolifl," 
"Silvano,"    "  Zanetto,"    "Iris,"    "Le 
Maschere,"  1901 ;  none  of  which,  how- 
ever, attained  the  degree  of  popularity 
reached   by   "  Cavalleria   Rusticana." 
In  1895  he  was  appointed  director  of 
the  Fesaro  Conservatory,  but  lost  that 
post  by  a  prolonged  tour  of  the  United 
States,  1903,  —  a  most  harassing  and 
unfortimate  experience,  since  the  com- 
poser was  subjected  to  legal  annoy- 
ances,  and   what  was   more   serious, 
found  himself  without  adequate  sup- 
port  wherewith    to    make    his    later 
operas  known.    On  returning  to  Italy, 
Mascagni  organized  an  orchestra  and 
resumed  his  work  as  teacher  and  com- 
poser,   and    received    the    additional 
honor  of  Commander  of  the  Crown  of 
Italy.    B.  Dec.  7,  1863;   add.  Rome. 
UaBcberoni   (Edoardo)    composed 


KASIITI 


372 


MASS 


the  operas  "  Lorenza,"  Xeatro  Cos- 
tanzi,  Rome,  1901 ;  "La  Perugina," 
1906;  Bequiem  for  King  Victor  Em- 
manuel; conducted  opera  at  Leghorn, 
Rome ;  pupil  of  Boucheron,  Milan.  B. 
Sept.  4,  1857,  Milan;   add.  Milan. 

llasini  (Angelo)  sang  Rhadames 
in  Verdi's  production  of  "Aida,"  Paris, 
1876;  leading  ten.  at  Madrid,  St. 
Petersburg,  Buenos  Ayres.  B.  1845, 
Forli. 

]y[asiiadieri.  Giuseppe  Verdi's  four- 
act  opera,  to  book  by  Maflei,  based  on 
Schiller's  "  Die  Rauber,"  was  first  per- 
formed July  22,  1847,  at  Her  Majesty's 
Theatre,  London. 

Mason  (John)  became  Master  of 
Choristers,  Magdalen  College,  Oxford, 
on  being  graduated,  1509;  chaplain; 
treasurer  Hereford  Cathedral,  1545. 

Mason  (Dr.  Lowell)  collected 
psalm  tunes  which  were  published  by 
the  Boston  Handel  and  Haydn  Society 
as  its  "  Collection  of  Church  Music," 
1822;  founded  the  department  of  mu- 
sic in  Boston's  public  schools,  and  the 
Boston  Academy  of  Music,  1832 ;  pub- 
lished popular  text-books;  composed 
hymns ;  wrote  "  Musical  Letters  from 
Abroad,"  1853;  self  taught  in  music, 
having  been  a  bank  clerk  in  Savannah 
in  early  manhood;  adopted  music  as 
a  profession  on  the  success  of  the 
Handel  and  Haydn  Society  publica- 
tion. B.  Jan.  24, 1792,  Medfield,  Mass.; 
d.  Aug.  11,  1872,  Orange,  N.  J.  Dr. 
William  founded  a  series  of  chamber 
concerts  in  New  York  with  Theodore 
Thomas,  1854;  became  the  most  cele- 
brated of  early  American  concert  pian- 
ists and  teachers;  composed  a  sere- 
nata  for  'cello  and  piano  pieces;  wrote 
"Touch  and  Technic,  a  Method  for 
Artistic  Piano  Playing,"  1-867  (with 
E.  S.  Hoadley)  ;  "  System  for  Be- 
ginners," 1871;  "Mason's  Pianoforte 
Technics,"  1878 ;  "Memoirs,"  1901 ;  pu- 
pil of  Henry  Schmidt,  Boston,  of  Mo- 
soheles,  Riehter,  and  Hauptmann, 
Leipsic;  Dreysehock,  Prague;  Liszt  at 
Weimar.  B.  Jan.  24,  1829,  Boston; 
son  of  DR.  LOWELL/  d.  July,  1908, 
New  York. 

Mason  (Luther  Whiting)  wrote 
"  Die  Neue  Gesangschule  " ;  devised 
the  "  National  System  "  of  charts  and 


books   on   music.     B.    1828,   Turner, 
Me.;   d.  1896,  Buckfield,  Me. 

Mason  (Kev.  William)  composed 
the  anthem  "  Lord  of  all  power  and 
might " ;  wrote  "  Critical  and  His- 
torical Essay  on  Cathedral  Music," 
1782,  prefixed  to  a  collection  of  words 
or  anthems;  canon  and  precentor  of 
York  Minster  and  King's  chaplain. 
B.  1724,  Hull;  d.  April  5,  1797, 
Aston. 

Masque.  Dramatic  entertainments 
of  which  Milton's  "  Comus "  is  the 
most  perfect  type  in  which  the  lines 
were  sung  or  declaimed  to  music  by 
players  who  (originally,  at  least) 
wore  allegorical  masks. 

Mass.     Qer.    Time,  measure. 

Mass.  The  Communion  Service  of 
the  Roman  Catholic  Church  may  be 
said  by  the  Celebrant,  attended  by  a 
single  server,  in  which  case  it  is  a 
Low  Mass,  and  without  musical  ac- 
companiment, although  it  is  not  for- 
bidden that  the  congregation  may 
chant  hymns  or  litanies  in  connection 
with  the  service,  of  which,  however, 
they  form  no  part.  Where  the  Office 
is  chanted  by  the  Celebrant  and  a 
choir,  it  becomes  a  Missa  Cantata,  or 
Sung  Mass.  Where  the  Office  is  sung 
by  the  Celebrant,  Deacon,  and  Sub- 
deacon  with  the  aid  of  a  choir,  it  be- 
comes a  High  or  Solemn  Mass.  The 
word  is  derived  from  the  Latin  for- 
mula "  Ite  Missa  Est,"  with  which 
the  congregation  is  dismissed.  Apart 
from  the  chants  reserved  for  the 
clergy,  the  portions  of  the  Mass  which 
have  been  sung  to  music  from  Apos- 
tolic times  are  the  KYRIE,  GLORIA, 
CREDO,  SANCTUS,  BENEDICTUS, 
and  AGNUS  DEI.  The  chants  of 
Plain-Song  melodies  to  which  these 
portions  of  the  Mass  were  sung  were 
first  collected  and  arranged  by  St. 
Ambrose  of  Milan  in  the  latter  quar- 
ter of  the  4th  century,  and  thence- 
forth called  AMBROSIAN  CHANT. 
A  larger  collection  was  made  at  Rome 
toward  the  close  of  the  6th  century 
during  the  pontificate  of  St.  Gregory 
the  Great,  and  is  hence  called 
GREGORIAN  CHANT.  It  is  prob- 
able that  no  other  music  was  em- 
ployed for  the  Mass  until  the  15th 


UASS 


373 


ICASSENET 


century,  for,  while  the  art  of  Coun- 
terpoint had  gradually  developed,  the 
ancient  chants  were  still  exclusively 
employed  as  the  Canti  Firmi  for  poly- 
phonic settings  of  the  liturgy  until 
Dufay,  who  sang  in  the  papal  chapel, 
1428-37,  introduced  the  practice  of 
wedding  sacred  text  to  profane  mel- 
ody. The  abuse  spread  quickly,  and 
the  great  contrapuntists  of  the  early 
Netherlands  school  not  only  followed 
this  example,  but  often  forgot  the 
purpose  of  the  ceremony  in  efforts  to 
display  their  ingenuity  in  counter- 
point and  fugue.  The  secularization 
and  profanation  of  church  music  was 
condemned  at  the  Council  of  Trent, 
and  in  1564  a  commission  of  Cardinals 
appointed  by  Pope  Pius  IV  was  pre- 
paring to  prohibit  all  polyphonic  mu- 
sic in  the  churches,  but  were  deterred 
from  going  to  this  extreme  by  hear- 
ing the  great  "Mass  of  Pope  Marcel- 
lus "  and  two  other  masses  which 
Palestrina  had  composed  to  prove  that 
reverence  and  devotion  might  be  com- 
bined with  art.  The  Cardinals,  hear- 
ing the  "  Mass  of  Pope  Marcellus " 
sung  June  19,  1565,  in  the  Sistine 
Chapel,  recorded  it  as  their  opinion 
that  all  church  music  should  follow 
the  style  it  established,  —  in  a  word, 
that  polyphonic  music  had  here 
reached  its  most  perfect  and  most 
beautiful  development,  —  a  decision 
accepted  by  the  world  at  large  to- 
day. To  the  age  of  Palestrina  suc- 
ceeded that  of  Monteverde.  To  the 
art  of  combining  melodies  for  voices, 
note  against  note,  succeeded  that  of 
devising  new  and  hitherto  forbidden 
harmonies  for  instruments.  The  great- 
est era  of  ecclesiastical  music  closed, 
and  that  of  dramatic  music  began. 
The  Masses  of  Bach,  B  minor,  and  of 
Beethoven,  in  D,  were  rather  oratorios 
than  compositions  suitable  for  the 
worship  of  the  church.  As  for  the  rest, 
from  Mozart  to  Gounod,  composers 
lavished  melody  and  rich  instrumen- 
tation upon  the  Mass,  but  their  music 
was  operatic  rather  than  sacred.  In 
Rome  itself  the  venerable  musio_  ap- 
proved by  tradition  was  retained. 
Elsewhere  the  operatic  music,  often 
Bung    in    operatic    style    by    opera 


singers,  was  permitted  until,  in  1903, 
Pope  PIUS  X  commanded  a  return  to 
the  Gregorian  Plain-Song,  the  elim- 
ination of  operatic  music  from  the 
churches,  and  the  dismissal  of  women 
from  the  choirs.  Such  revolutionary 
changes  could  not  be  effected  irame- 
diately.  It  was  found  necessary  to 
train  new  singers  for  the  older  music, 
but  the  salutary  effect  of  the  reform 
was  soon  generally  recognized  except 
by  those  whose  material  interests  had 
been  affected. 

Kassart  (Joseph.  I/ambert)  taught 
violin  at  the  Paris  Conservatoire, 
having  as  pupils  Wieniawski,  Lotto, 
Sarasate,  and  Marsick;  played  in 
chamber  concerts,  but  was  too  timid 
to  distinguish  himself  as  a  soloist; 
pupil  of  Kreutzer.  B.  July  19,  1811, 
Li6gp;  d.  Feb.  13,  1892,  Paris. 
Louise  Aglae  lyiarson  taught  piano, 
Paris  Conservatoire.  B.  1827,  Paris; 
m.  JOSEPH  LAMBERT;  d.  1887, 
Paris. 

Iffassg  (Victor  Felix  Ilarie)  com- 
posed the  successful  comic  opera  "  Les 
Noces  de  Jeannette,"  Paris  Op€ra 
Comique,  1849 ;  "  Les  Saisons,"  "  Fior 
d'Aliza,"  "La  Relne  Topaze,"  1856; 
"  Paul  et  Virginie,"  Covent  Garden, 
London,  June  1,  1878;  and  in  all  18 
operas  and  many  popular  songs. 
Prize  pupil  of  the  Paris  Conservatoire 
in  piano,  harmony,  and  fugue  at  12, 
he  studied  composition  with  Halfivy, 
and  in  1844  won  the  prix  de  Rome 
with  his  cantata  "  Le  Rgnfigat."  Re- 
turning to  Paris,  his  "Messe  Solon- 
elle "  was  performed  at  the  Church 
of  St.  Louis,  and  he  subsequently  be- 
came chorusmaster  at  the  AcadSmie 
and  taught  composition  in  the  Con- 
servatoire; Chevalier  of  the  Legion 
of  Honor.  B.  Mar.  7,  1822,  Lorient; 
d.  July  5,  1884,  Paris. 

Hassenet  (Jules)  composed  the 
operas  "Le  CID,"  "MANON," 
"  THAIS,"  other  successful  dramatic 
works,  oratorios,  and  orchestral  com- 
positions; taught  composition  in  the 
Paris  Conservatoire;  was  elected  to 
the  Aeadgmie  at  36,  and  the  first  to 
attain  the  honour  at  that  age;  OflS- 
cer  of  the  Legion  of  Honor.  At  17 
he  won  the  first  piano  prize  at  the 


UASSIMA 


374 


MATHIETT 


Paris  Conservatoire,  the  second  prize 
for  fugue  three  years  later,  and  in 
1863  the  first  prize  for  fugue  and  the 
prix  de  Rome  with  his  cantata 
"  David  Rizzio."  His  first  operatic 
work,  "  La  Grand'  tante,"  was  per- 
formed on  his  return  to  Paris,  1867, 
at  the  Op^ra  Comique.  Some  orches- 
tral suites  were  well  received,  and 
"  Don  Cesar  de  Bazan,"  Opfira  Com- 
ique, Nov.  30,  1872,  established  his 
popularity.  The  story  of  his  life 
since  then  may  be  read  in  the  chron- 
ological sequence  of  his  works;  in- 
cidental music  to  "  Les  Erinnyes," 
1873;  the  oratorio  "Eve,"  1875; 
overture  to  "Ph6dre,"  suites  for  or- 
chestra, songs,  and  duets,  "  BerangSre 
et  Anatole,"  1876;  the  four-act  opera 
"Le  ROI  DE  LAHORE,"  1877 ;  the  can- 
tata with  orchestral  accompaniment 
"  Narcisse,"  the  oratorio  "  La  Vierge," 
1880;  the  religious  opera  "Herodi- 
ade,"  Brussels,  1881;  "Mamon,"  Jan. 
14,  1884,  Opera  Comique;  "Le  Cid," 
Nov.  30,  1885,  Paris  Opfira;  the  suites 
for  orchestra  Scfines  Napolitaines, 
Scenes  Alsaciennes,  Scfines  de  Feerie; 
incidental  music  to  "  Theodora  "  and 
"  Le  Crocodile " ;  the  lyric  drama 
"  Eselarmonde,"  May  15,  1889,  Opera 
Comique ;  the  oratorio  "  La  Terre 
Promise,"  1900;  "  Le  Mage,"  Paris 
Opera,  Mar.  16,  1891;  "Werther," 
three-act  opera,  Vienna,  Feb.  16,  1892; 
"  Thais,"  Paris  Opera,  1894;  "  Le  Por- 
trait de  Manon,"  Opera  Comique,  1894; 
"La  NAVARRAISE,"  Covent  Gar- 
den, London,  June  20,  1894 ;  "  Sapho," 
Opera  Comique,  Nov.  27,  1897 ;  "  Cen- 
drillon,"  Op6ra  Comique,  1899;  "Grise 
Fidis,"  Opera  Comique,  Nov.  20,  1901; 
"  Le  Jongleur  de  Notre-Dame,"  Monte 
Carlo,  Feb.  18,  1902;  "  Cherubin," 
Opera  Comique,  Feb.  14,  1905;  "Ari- 
ane."  B.  May  12,  1842,  Montaud, 
near  St.  Etienne;    add.  Paris. 

Hassima.    It.    Semibreve. 

Massol  (Jean  Etienne  Auguste) 
sang  ten.  in  opera,  debut  1825,  Paris 
Opera;  became  director  of  the  Royal 
theatres,  Brussels.  B.  Lodeve,  Her- 
ault,  1802;    d.  Oct.  30,  1887,  Paris. 

Mass  on  (Elizabeth)  composed 
songs ;  edited  song  collections ;  founded 
Royal   Society  of  Female   Musicians, 


London,  1839,  of  which  she  became 
honorary  treasurer.  B.  1806;  d.  Jan. 
9,  1865. 

Masternote.     LEADING  NOTE. 

lilasure  or  Masurek.  Qer.  Ma- 
zourka. 

Hatassins  or  Uatachins.  Obso- 
lete French  dance  in  4-4  time  in 
which  mock  combats  were  introduced 
by  men  in  armour. 

Matelotte.  Fr.  Sailors'  dance  or 
hornpipe. 

Materlia  (Amalie)  created  the 
rSlea  of  Briinnhilde  and  Kundry  at 
Bayreuth,  debut  in  1869  in  grand 
opera  at  Vienna  as  Selika,  prior  to 
which  she  had  been  a  successful  singer 
in  operettas.  Daughter  of  a  school- 
master at  St.  Georgen,  Styria,  her 
voice  developed  unusual  power  at  an 
early  age,  and  she  was  recognized  aa 
a  leading  interpreter  of  Wagnerian 
rSles  during  successful  tours  of  the 
leading  music  centres  of  Europe  and 
America.  B.  July  10,  1845;  m.  the 
actor  Karl  Friedrich;    retired,  1897. 

IVCatlier  (Samuel)  composed  songs 
and  hymns;  edited  psalm  and  hymn 
tunes;  played  organ;  founded  York- 
shire Amateur  Concerts,  1806,  York- 
shire Choral  Concerts,  1814.  B.  1783, 
Sheffield;  d.  May  26,  1824,  Edinburgh. 

Mathews  (William  Smyth  Bab- 
cock)  edited  the  "  Musical  Independ- 
ent," "  Music  " ;  wrote  text-books  on 
music;  criticism  for  Chicago  "Times," 
"Morning  News,"  and  "Tribune"; 
taught  music,  Macon,  Ga.,  1860-63; 
played  organ,  Chicago,  1868-72.  B. 
May  8,  1837,  New  London,  N.  H.; 
add.  Chicago. 

Mathieu  (Emile)  composed  the 
operas  "  Richilde,"  1888;  "L'Enfance 
de  Rolande,"  1889,  Theatre  de  la  Mon- 
naie,  Brussels;  the  comic  operas 
"Georges  Dandin,"  "L'Echange,"  "Le 
Bernoise  " ;  Te  Deum  for  soli,  chorus, 
and  orchestra;  six  ballads  for  voice 
and  piano  to  words  by  Goethe,  the 
descriptive  poems  "  Le  Hoyoux," 
"  Freyir,"  and  "  Le  Sorbier,"  for  soli, 
chorus,  and  orchestra;  became  director 
of  the  Louvain  Academic  de  Musique, 
1881,  of  the  Ghent  Royal  Conserva- 
tory, 1891;  pupil  of  the  Brussels 
Conservatory,  where  he  won  the  sec- 


iiathii.de   hi  SHABBAN   375 


MAUBEL 


ond  prix  de  Rome,  1869,  with  his 
cantata  "  La  mort  du  Tasse."  B. 
Oct.  16,  1844,  Lille;    add.  Ghent. 

Slatliilde  di  Shabran.  '  Gioacchino 
A.  Rossini's  three-act  opera  bufla  was 
first  performed  during  the  carnival 
of  1821  at  the  Apollo  Theatre,  Rome. 

matilda  of  Hungary.  W.  Vin- 
cent Wallace's  three-act  opera,  to  book 
by  Bunn,  was  £rst  performed  Feb.  22, 
1847,  at  Drury  Lane,  London. 

lEatinata.     It.     Morning  serenade. 

matinee.  Fr.  Morning  entertain- 
ment. The  term  is  now  usually  ap- 
plied to  afternoon  performances  of 
music  or  the  drama. 

matins.  The  first  division  of  the 
HORiE  CANONIC^  as  set  forth  in 
the  Roman  Catholic  service  books. 

matrimonio  Segreto.  Domenico 
Cimarosa's  two-act  opera  buffa,  to  book 
by  Bertatti,  adapted  from  Colman's 
"  Clandestine  Marriage,"  was  first 
performed,  1792,  at  Vienna,  and  later 
with  equally  great  success  in  Paris 
and  London. 

llattei  (Abbate  Stanlslao)  taught 
counterpoint  to  Rossini,  Donizetti,  and 
other  composers  while  teacher  at  the 
Bologna  Liceo  and  chapelmaster  at 
San  Petronio;  was  the  pupil  and 
successor  of  Padre  Martini,  beginning 
his  career  as  a  teacher  on  the  suppres- 
sion of  the  monasteries,  1798;  com- 
posed a  Passion,  an  Intermezzo,  eight 
masses,  and  other  church  music.  B. 
Feb.  10,  1750,  Bologna;  d.  May  12, 
1825,  Bologna. 

Uattei  (Filippo)  composed  the 
opera  "  Arsace,  overo  Amore  e  Msesta  " ; 
played  'cello  in  London  theatres,  and 
was  accredited  on  Handel's  score  of 
"Muzio  Scevola"  with  having  com- 
posed the  first  act. 

Mattel  (Tito)  composed  "  Maria  di 
Gand "  and  other  operas,  ballets, 
songs;  toured  Europe  as_  concert 
pianist  and  conductor;  pianist  to  the 
King  of  Italy;  taught  Accademia  di 
Santa  Cecilia,  Rome,  where  he  had 
been  a  pupil.  B.  May  24,  1841, 
Campobasso,  near  Naples;  add.  Rome. 

Mattels  (Nicola)  composed  for 
violin,  wrote  a  guitar  method;  settled 
in  London,  1672,  where  he  made  him- 
self famous  as  a  violinist,  enjoying 


great'  popularity  until  his  death,  after 
1699.  Nicbolas  played  violin  in  the 
Vienna  Court  Orchestra,  nQ&*33, 
when  he  settled  in  Shrewsbury,  Eng., 
as  teacher  of  the  violin  and  French, 
numbering  Burney  among  bis  pupils; 
son  and  pupil  of  NICOLA.  D.  about 
1749,  Shrewsbury. 

Hatthewson  (Johann)  was  the 
forerunner  of  Johann  Sebastian  Bach 
in  the  development  of  the  church  can- 
tata; became  canon  and  cantor  of  the 
Hamburg  Cathedral;  wrote  on  the- 
ory; collected  musical  biographies; 
in  early  life  singer  and  conductor  of 
the  Hamburg  Opera,  where  he  quar- 
relled with  Handel,  after  having  given 
that  composer  his  first  introduction 
to  the  musical  world;  chapelmaster 
to  the  Duke  of  Holstein,  1719-28. 
Matthewson's  published  compositions 
numbered  88,  none  of  which  is  now 
important.  B.  Hamburg,  Sept.  28, 
1681 ;    d.  April  17,  1764,  Hamburg. 

Mattloli  (Lino)  composed  songs; 
played  'cello;  taught  'cello  and  vocal, 
Cincinnati  College  of  Music;  pupil 
Milan  Conservatory.  B.  Parma,  1853; 
add.  Cincinnati. 

Maucotel  (Adolphe)  made  violins 
of  excellent  quality,  modelled  upon 
those  of  Stradivarius ;  learned  the 
craft  with  Vuillaume,  Paris,  where 
he  opened  his  own  shop,  1844.  B. 
1820,  Mirecourt;  committed  suicide, 
1858,  Paris.  Charles  made  violins 
in  London  and  Paris.  B.  1807,  Mire- 
court; brother  of  ADOLPHE;  d. 
1860. 

Mauduit  (Jacques)  composed  a 
five-part  requiem  for  the  poet  Ron- 
sard,  chansons,  motets;  played  lute; 
won  first  prize,  1581,  in  the  annual 
competition  at  Evreux  with  his 
songs;  called  "Pere  de  la  Musi- 
que."  B.  Sept.  16,  1557,  Paris;  d. 
Aug,  21,  1627. 

ICaugars  (Andre)  played  viol  at 
the  court  of  James  I  of  Bug.,  1620- 
24;  later  to  Cardinal  Richelieu,  whom 
he  likewise  served  as  secretary  and 
interpreter. 

Haurel  (Victor)  created  "  lago  "  in 
VerdPs  "Otello,"  Milan,  1887,  "  Fal- 
staflF"  and  Matthias  in  Erlanger's 
"Juif  Polonais,"  Paris  Op^ra  Comique, 


MATJBEB 


376 


IIAZZIHGHI 


1900,  debut  in  1868,  Paris  Opfira, 
after  having  been  prize  pupil  of  the 
Paris  Conservatoire;  thereafter  sing- 
ing leading  bar.  rSles  in  the  principal 
cities  of  Europe  and  America.  In 
1883  Maurel  became  associated  with 
Corti  in  a  brief  and  disastrous  mana- 
gerial venture  in  opera  at  what  is 
now  the  Theatre  Sarah-Bernhardt, 
Paris.  His  exceptional  dramatic  tal- 
ent led  him  to  abandon  opera  for  the 
spoken  play  in  1900,  but  a  few  years 
later  he  returned  to  the  operatic 
stage.  His  "  Dix  ans  de  carriere," 
1897,  has  been  translated  into  Ger- 
man. B.  June  17,  1848,  Marseilles; 
add.  Paris. 

IVEaurer  (Ludwig  Willielm)  com- 
posed a  symphonic  concertante  for 
four  violins  and  orchestra,  "  Alonzo  " 
and  other  unpublished  operas,  violin 
concertos  and  quartets;  played  vio- 
lin; conducted;  pupil  of  Haak.  B. 
Feb.  8,  1789,  Potsdam;  d.  Oct.  25, 
1878,  St.  Petersburg. 

Maxwell  (Bev.  Francis  Kelly, 
S.D.)  wrote  "An  Essay  upon  Tune," 
dealing  with  temperament,  Edin- 
burgh, 1781;  chaplain  to  the  Edin- 
burgh Asylum.  D.  1782,  Edinburgh. 

May  (Edward  CoUett)  taught  sing- 
ing in  English  institutions  and  at 
Queen's  College,  London,  from  1880. 
B.  Greenwich,  Oct.  29,  1806;  d.  Jan. 
2,  1887,  London.  Florence  played 
and  taught  piano;  pupil  of  Brahms, 
whose  biography  she  wrote,  2  vols., 
1905.  Daughter  of  EDWARD  COL- 
LETT;    add.  London. 

Mayer  (Charles)  composed  piano 
concerto  in  D,  Op.  70,  concerto  sym- 
phonique,  Op.  89,  Polka  Bohemienne 
in  A,  and  a  Mazourka  in  P  sharp 
major  long  accredited  to  Chopin;  in 
all  900  works;  played  piano  and 
taught;  pupil  of  Field  in  St.  Peters- 
burg. B.  Mar.  21,  1799,  Konigsberg; 
d.  July  2,   1862,  Dresden. 

Maynard  (John)  composed  songs, 
dance  music  for  lute  and  viols  pub- 
lished in  1611  as  "The  XII  Wonders 
of  the  World";  lutenist  at  the 
School  of  St.  Julian,  Hartfordshire, 
Eng.     . 

May  Queen.  W.  Sterndale  Ben- 
nett's pastoral  to  words  by  Chorley 


was  first  performed  Sept.  8,  1858,  at 
the  Leeds  Festival. 

Mayr  (Johann  Simons)  composed 
the  operas  "  Lodoiska,"  1800;  "Gi- 
nevra  di  Scozia,"  1801;  "Medea," 
1813;  "Rosa  bianca  e  Rosa  rossa," 
1814,  and  in  all  77  dramatic  works, 
many  of  which  retained  their  popu- 
larity until  eclipsed  by  those  of  Ros- 
sini; masses,  and  other  church  music; 
censor  of  Milan  Conservatory,  1807,  ■ 
teacher  of  Donizetti  and  others  at 
the  Bergamo  Musical  Institute.  B. 
Mendorf,  Bavaria,  June  14,  1763;  d. 
Dec.  2,  1845,  Bergamo. 

Mayseder  (Joseph)  played  violin 
in  the  Schuppanzigh  quartette  and  as 
chamber  violinist  to  the  Emperor  at 
Vienna;  composed  chamber  music; 
taught  successfully.  B.  Oct.  26,  1789, 
Vienna;    d.  Nov.  21,  1863,  yienna. 

Mazas  (Jacques-Fereol)  wrote  in- 
struction books  for  the  violin  and 
viola;  composed  duets  still  useful  for 
students,  two  violin  concertos,  quar- 
tets and  trios,  the  opera  "Le 
Kiosque";  toured  Europe  as  violin 
virtuoso;  taught  in  Cambrai;  prize 
pupil  of  Baillot  at  Paris  Conserva- 
toire. B.  Beziers,  Sept.  23,  1782;  d. 
1849,  Beziers. 

Mazeppa.  P.  I.  Tchaikowsky's 
three-act  opera,  to  book  by  Bourenin, 
based  on  Poushkin's  "  Poltava "  was 
first  performed  in  Moscow,  1883. 
Liszt's  symphonic  poem  for  orchestra, 
expanded  from  a  piano  etude,  was 
composed  in  its  present  form,  1858. 

Mazourka.  Lively  Polish  dance  in 
3-8  or  3-4  time,  the  third  beat  of 
the  bar  being  accented.  Originally 
accompanied  by  singing,  the  Ma- 
zourka, which  is  danced  by  four  or 
eight  couples,  has  been  immortalized 
by  Chopin,  52  of  his  piaifo  composi- 
tions bearing  this  title. 

Mazzinghi  (Joseph)  composed  the 
operas  "II  Tesoro,"  "La  Belle  Ar- 
sene,"  incidental  music,  songs,  70 
piano  sonatas;  played  organ;  taught 
music  to  Queen  Caroline;  pupd  of 
John  Christian  Bach.  B.  London, 
Dee.  25,  1765,  of  a  Corsican  family 
from  which  he  ultimately  inherited 
the  title  of  Count;  d.  Jan.  15,  1844, 
Bath. 


UAZZOCCHI 


377 


SEEEBESSTILLE 


Iffazzocchi  (Domeaico)  composed 
the  opera  "La  Catena  d'  Adone," 
1626,  five-part  madrigals,  etc.;  in- 
vented the  sign  for  dim.  and  cres.  B. 
about  1590,  Civita  Castellana;  d. 
about  1650,  Rome.  Virgilio  was 
chapelmaster  at  St.  John's  Lateran, 
1628-29,  and  from  the  latter  date  at 
St.  Peter's,  Rome;  composed  psalms 
and  other  sacred  music.  Brother  of 
DOMENICO;  d.  1646,  Rome. 

UcCunn  (Hamish)  composed  the 
operas  "Jeanie  Deans,"  Edinburgh, 
Nov.  15,  1894;  "  Diarmid,"  Covent 
Garden,  London,  Oct.  23,  1897,  to 
book  by  the  Marquess  of  Lome 
.(later  Duke  of  Argyll),  the  first  of  a 
projected  trilogy;  "The  Masque  of 
War  and  Peace,"  to  book  by  L.  N.  Par- 
ker, London,  Feb.  13,  1900;  the  mu- 
sical comedy  "  The  Golden  Girl" ; 
conducted  English  opera  in  London 
and  at  the  Savoy  Theatre.  Pupil  of 
Sir  Hubert  Parry  at  the  Royal  Col- 
lege of  Music,  London,  where  he  won 
a  scholarship,  1883-86.  His  overture 
"Land  of  the  Mountain  and  Flood" 
brought  him  before  the  public  as  a 
composer,  1887.  Other  works  to  be 
noted  are  the  cantatas  "Lord  Ullin's 
Daughter,"  "The  Lay  of  the  Last 
Minstrel,"  ^' Bonny  Kilmeny,"  "The 
Cameronian's  Dream,"  "  Queen  Hynde 
of  Caledon,"  "The  Death  of  Parcy 
Reed,"  "The  Wreck  of  the  Hes- 
perus," the  overtures  "  Clor  Mhor," 
"The  Ship  o'  the  Fiend,"  "The 
Dowie  Dens  o'  Yarrow,"  Psalm  viii, 
80  songs,  nine-part  songs,  Scotch 
Dances  for  piano,  three  pieces  for 
'cello  and  piano,  besides  incidental 
music.  B.  Mar.  22,  1868,  Greenock; 
add.  London. 

HcWhood  (Leonard  B.)  became  a 
professor  of  music  in  Columbia  Uni- 
versity, 1904,  where  he  was  adjunct 
professor  in  1908-9;  wrote  and  lec- 
tured on  musical  topics;  directed 
choruses  and  orchestras;  composed 
unpublished  works  in  the  smaller 
forms.  Graduated  from  Columbia, 
A.  B.,  1893;  he  became  professor  Gr. 
and  L.,  Normal  School  of  Pennsyl- 
vania, 1893-94;  was  associated  with 
Dr.  E.  A.  MACDOWELL,  Columbia, 
1897-1904;      instructor     in     music. 


Vassar,  1902-7,  Drew  Theological 
Seminary  from  1907;  member  Music 
Teachers'  National  Association  and 
Eastern  Educational  Music  Confer- 
ence. B.  Dec.  6,  1870;  add.  New  York 
City. 

IVIcLean  (Alick)  composed  the 
operas  "  Quentin  Durward,"  London, 
1895;  "  Petruccio,"  the  one-act  opera 
which  won  the  $500  Moody-Manners 
prize,  Covent  Garden,  London,  1895. 
B.  July  20,  1872,, Eton,  Eng.;  add. 
London. 

M.  D.  Abbreviation  of  mano  destra 
or  maine  droite,  "  right  hand." 

Hean.  Middle  part,  whether  for 
voice  or  strings. 

IVEean  Clef.    The  C  clef. 

Measure.  Unit  of  rhythm  or  notes 
and  rests  included  between  two  bars; 
stately  dance  of  the  minuet  or  pavan 
types. 

lyCechanism.     Action ;    technique. 

Hediciu  IHalgre  Lui.  Charles  F. 
Gounod's  opera,  to  book  adapted  by 
Barbier  and  Carr6  from  Moliire,  was 
first  performed  Jan.  15,  1858,  at  the 
Paris  Theatre  Lyrique.  An  English 
version  is  known  as  "The  Mock  Doe- 
tor,"  a  title  which  had  been  previ- 
ously employed  for  a  ballad  opera  by 
Henry  Fielding,  with  airs  by  J. 
Watts,  Drury  Lane,  Iiondon,  1732. 

Medee.  M.  Luigi  C.  Z.  S.  Cheru- 
bim's three-act  opera,  *.o  book  by  Hoff- 
mann, was  first  performed  Mar.  13, 
1797,  at  the  Paris  Theatre  Feydeau. 

Medesimo  Movimento.  It.  The 
same  movement. 

Sledesimo  Tempo.  It.  The  same 
time. 

llediant.  Third  note  of  any  scale; 
pivotal  midway  between  the  Final 
and  Dominant  of  a  mode, 

Hediation.  Part  of  a  chant  be- 
tween the  reciting  note  and  the  next 
close. 

Madias.  L.  "Mean";  the  tenor 
part. 

Meeresstille  und  Gliickliche 
Falirt.  Ludwig  van  Beethoven's  can- 
tata to  Goethe's  poem  was  first  per- 
formed Dec.  25,  1815,  at  the  Vienna 
Redoutensaal.  Felix  Mendelssohn's 
poem  for  orchestra  was  first  performed 
Dec.  1,  1832,  at  Berlin. 


SEEEBTS 


378 


IIEILAND 


Ueerts  (Lambert  Joseph)  com- 
posed studies  for  two  violins,  each 
based  on  a  rhythm  taken  from  a 
Beethoven  symphony;  played  violin; 
taught  Brussels  Conservatory;  pu- 
pil of  Lafont,  Habenck,  and  Baillot 
at  the  Paris  Conservatoire.  B.  Jan. 
6,  1800,  Brussels;  d.  May  12,  1863, 
Brussels. 

Xees  (Arthur)  wrote  "  Choirs  and 
Cathedral  Music,"  1901;  conducted 
the  Mendelssohn  Glee  Club,  New 
York,  1901;  in  early  life  assistant 
conductor  to  Theodore  Thomas  and 
ehorusmaster  of  the  Cincinnati  May 
Festival;  pupil  of  Kullak  for  pi- 
ano, Weitzmann,  theory,  and  Dorn, 
conducting,  Berlin.  B.  Feb.  13,  1850, 
Columbus,  0.;    add.  New  York  City. 

Iffefistofele.  Arrigo  Boito's  opera, 
based  on  FAUST,  was  first  performed 
Mar.  5,  1868,  at  La  Scala,  Milan. 

Uehlig  (Anna)  played  piano,  tour- 
ing Europe,  and  in  1870  America; 
pupil  of  the  Stuttgart  Conservatory, 
and  of  Liszt  at  Weimar.  B.  July  11, 
1846,  Stuttgart;  m.  Herr  Falk;  add. 
Antwerp. 

Itlehul  (Etienne  ITicholas  Henri) 
composed  "JOSEPH"  and  many  other 
once  popular  operas,  in  which  he  fol- 
lowed the  reforms  instituted  by  Gluck ; 
was  inspector  of  instruction  at  the 
Paris  Conservatoire  from  the  founda- 
tion of  that  institution;  one  of  the 
best  and  most  prolific  of  French  com- 
posers. Son  of  a  cook,  Mfihul  obtained 
his  first  music  lessons  from  a  blind  or- 
ganist, and  at  10  was  himself  organist 
of  the  convent  at  Givet.  Later  he  en- 
tered the  monastery  of  Lavaldieu  as 
pupil  of  Wilhelm  Hauser,  to  whom  he 
was  made  deputy  organist  at  14.  The 
following  year  he  settled  in  Paris, 
maintaining  himself  by  giving  lessons, 
and  studying  with  Edelmann.  A  sa- 
cred cantata  performed  at  a  Concert 
Spirituel,  1782,  was  his  first  notable 
composition,  but  at  the  suggestion  of 
Gluck,  he  devoted  himself  to  opera. 
His  first  three  works  are  lost,  but  the 
fourth,  "Cora  et  Alonzo,"  was  ac- 
cepted by  the  Academie,  though  not 
performed  until  he  had  established  his 
reputation  with  "  Euphrosine  et  Cora- 
din,"  an  opera  comique  performed  at 


the  Theatre  des  Italiens,  Sept.  4,  1790. 
Other  operas  followed  in  rapid  succes- 
sion :  "  Stratonice,"  "  Le  jeune  Saga  et 
le  vieux  Fou,"  "  Le  Jugement  de 
Paris"  (with  Haydn  and  Pleyel) ; 
"Horatius  Cocl6s,"  "Mfilidore  et  Phro- 
sine,"  "  La  Caverne,"  "  Doria,"  "  Le 
jeune  Henri,"  "  Adrien,"  "  Ariodant," 
"Epicure"  (with  Cherubini),  "Bion," 
"L'irato,"  "Une  Folie,"  "Le  Trfisor 
suppose,"  "  Joana,"  "  L'Heureux  mal- 
gre  lui,"  "  Helena,"  "  Le  Baiser  et  la 
Quittance"  (with  Kreutzer,  Boieldieu, 
and  Nicolo ) ,  "  Les  deux  aveugles  de 
Toledo,"  "Gabrielle  d'EstrSes,"  cul- 
minating with  "  Joseph,"  1807,  and 
"Uthal."  His  ballets,  "Le  Retour 
d'Ulysse,"  "  PersSe  et  Androm6de," 
"  La  Dansomanie,"  "  Daphnis  et  Pan- 
drose,"  were  well  received,  as  were  his 
songs  and  cantatas,  "  Chant  national 
du  14  Juillet,"  "Chant  du  Depart," 
"  Chant  du  Retour,"  "  Chanson  de  Ro- 
land," "  Chant  lyrique,"  and  "  Le  Pont 
de  Lodi."  His  unpublished  works  in- 
cluded six  operas,  a  mass,  composed 
for  Napoleon's  coronation,  first  per- 
formed in  Paris,  1879,  and  the  opfira 
comique,  "  Valentine  de  Milan,"  com- 
pleted by  Daussigne-Mehul,  produced 
in  Paris,  1822.  Mfihul  also  composed 
symphonies,  which,  however,  are 
.deemed  inferior  to  his  overtures,  cho- 
ruses to  the  tragedy  "  Timolfion,"  the 
ballet  "  Les  Amazons,"  and  "  La  Jour- 
nee  aux  Aventures,"  1816.  This  bril- 
liant career  brought  him  the  cross  of 
the  Legion  of  Honor  and  membership 
in  the  Institut.  B.  Givet,  Ardennes, 
June  22,  1763;   d.  Oct.  18,  1817,  Paris. 

Mehrstimmig.      Ger.     Polyphonic. 

Illeibromius  or  Meibrom  (Mar- 
cus) wrote  "Antiquae  musicae  auc- 
tores  septem  Grajce  et  Latine,"  Elzevir, 
Amsterdam,  1652,  and  other  works  on 
music  valuable  for  historical  and  theo- 
retical matter;  musician  to  Queen 
Christina  of  Sweden  and  professor  at 
Upsala  University,  Denmark.  B.  about 
1626,  Tcenningen,  Schleswig-Holstein; 
d.  1711,  Utrecht. 

Meiland  (Jacob)  introduced  the 
vilanella  style  for  secular  songs  into 
Germany;  composed  German  and 
Latin  motets  which  once  rivalled  those 
of  Orlandus   in  popularity;    chapel- 


ICEINABSTTS 


379 


IffEISTEBrSINaEB 


master  to  the  Margrave  of  Anspach. 
B.  Senftenberg,  Saxony,  about  1542; 
d.  1577,  Frankfort-on-Main. 

Meinardus  (Ludwig  Siegfried) 
composed  the  oratorios  "  Simon  Pe- 
trus."  "  Luther  in  Worms,"  "  Gideon," 
"  KQnig  Salomo,"  four  ballads  for  cho- 
rus, the  unperformed  operas  "  Bah- 
nesa"  and  "Doktor  Sassafras";  wrote 
criticism  or  the  "  Hamburger  Korre- 
spondent " ;  played  organ ;  pupil  of 
the  Leipsic  Conservatory  and  of  Liszt 
at  Weimar.  B.  Hooksiel,  Oldenburg, 
Sept.  17,  1827;   d.  July  12,  1896. 

Heisel  (Carl)  taught  violin  in  Bos- 
ton, Mass.,  nearly  half  a  century;  was 
an  original  member  of  the  Boston  Sym- 
phony Orchestra  as  well  as  of  the 
Mendelssohn  Quintet  Club ;  settled  in 
America  at  the  age  of  23.  B.  Ger- 
many, 1829;  d.  Boston,  Mass.,  Dec. 
27,  1908. 

Meisterfuge.  Ger.  Bicercata 
FUGUE. 

Heistersinger.  Ger.  "  Master- 
singer."  The  title  of  highest  rank  in 
the  song  schools  or  guilds  which  flour- 
ished in  Germany  from  1311,  when 
Heinricb  von  Meissen  is  supposed  to 
have  established  the  first  of  its  kind 
in  Mainz,  until  comparatively  recent 
times.  The  organizations  were  to  the 
middle  classes  of  Germany  what  those 
of  the  MINNESINGERS  had  been 
to  the  nobility,  and  were  doubtless  of 
great  value  as  a  means  of  extending 
mtisical  culture.  An  account  of  Wag- 
ner's comic  opera  which  follows  this 
article  gives  an  idea  of  some  of  the 
absurdities  which  grew  up  in  the 
latter  days  of  the  Meistersingers,  de- 
feating their  original  purposes  by 
pedantic    restrictions. 

Meistersinger  von  Niirnljerg. 
Richard  Wagner's  three-act  opera 
to  his  own  book  was  first  performed 
June  21,  1866,  at  Munich,  von  BUlow 
conducting,  and  has  since  been  re- 
peatedly performed  in  all  parts  of 
the  civilized  world.  The  first  act 
discloses  the  interior  of  St.  Kather- 
ine's  church  as  a  service  is  being 
concluded.  Walther  von  Stolzing, 
a  young  Franconian  knight,  fiirts 
with  Eva,  daughter  of  the  rich 
goldsmith,   Veit   Pogner,   but   learns 


from  Magdalene,  the  Pogners'  maid, 
that  the  yoimg  girl's  hand  and  the 
goldsmith's  wealth  are  to  be  the 
prizes  for  the  song  tourney  next  day. 
As  the  last  of  the  congregation  de- 
part, David  and  other  apprentices 
prepare  for  the  session  of  the  Meis- 
tersingers, and  from  David  Walther 
learns  something  of  the  regulations 
of  the  guild.  There  are  tiie  tones 
and  modes  to  be  learned,  the  33 
canons  to  be  observed,  and  when  one 
has  acquired  the  art  of  singing  and 
composing  according  to  the  Tablatur 
or  rules,  having  been  through  the 
degrees  of  scholar  and  singer,  one 
must  then  learn  poesy,  and  on  mas- 
tering the  art  of  combining  poetry 
with  song,  progress  from  poet  to 
Mastersinger.  Walther  determines 
to  submit  to  the  ordeal.  The  black- 
board is  placed  in  position  behind  a 
screen,  and  in  readiness  for  the 
Marker,  who  is  to  note  down  any  de- 
viations from  rule  of  which  the  can- 
didate may  be  guilty,  seven  such 
marks  sufficing  to  reject  his  applica- 
tion. Presently  the  Mastersingers  as- 
semble. Pogner  and  Beckmesser  en- 
ter, the  latter  town  clerk,  and  deeply 
in  love  with  Eva.  Pogner  formally  an- 
nounces his  intention  to  bestow  Eva 
upon  the  victor  in  next  day's  con- 
test, provided  she  does  not  refuse, 
and  Walther  announces  himself  as 
candidate  for  the  Mastership.  Hans 
Sachs,  cobbler  and  poet,  suggests  that 
the  public  be  allowed  to  assist  in  the 
decision,  lest  the  rules  of  art  be- 
come too  arbitrary,  and  annoys  Beck- 
messer, by  urging  that  only  young 
bachelors  be  permitted  to  compete, 
in  view  of  the  nature  of  the  prize. 
Replying  to  the  questions  of  the  Mas- 
tersingers, Walther  says  he  has 
learned  poetry  from  the  books  of 
Walter  von  der  Vogelreide,  and  mu- 
sic of  the  birds.  Only  Sachs  seems 
satisfied  with  the  thoroughness  of 
such  training.  Beckmesser  takes  his 
post  as  Marker,  Kothner  proclaims 
the  rules  to  be  observed,  and  Walther 
is  ordered  to  sing.  The  scratching  of 
Beckmesser's  pencil  is  heard  as  Wal- 
ther utters  praise  of  love  and  spring. 
Soon  the  blackboard  is  covered  with 


MEISTEKSINGEB, 


380 


MEL,    DEL 


indications  of  the  singer's  faults, 
Beckmesser  and  the  other  Master- 
singers  ridicule  the  presumptuous 
knight,  but  Sachs  defends  both 
song  and  singer,  and  Walther  is  per- 
mitted to  give  a  second  stanza.  Then 
the  candidate  is  voted  "  outsung  and 
outcast,"  despite  Sachs's  protest,  and 
the  Mastersingers  disperse.  The  sec- 
ond act  shows  a  street  scene.  On 
the  right  is  Pogner's  house,  to  the 
left  the  cobbler's  shop  of  Hans  Sachs, 
who  is  working  away,  even  after  the 
apprentices  have  put  up  the  shutters 
for  the  night.  Walther  and  Eva  plan 
an  elopement,  but  Sachs  prevents 
this,  and  later,  when  Beckmesser 
comes  to  serenade  the  goldsmith's 
daughter,  Sachs  acts  as  marker,  not- 
ing Beckmesser's  mistakes  with  taps 
of  his  hammer,  and  in  this  way  com- 
pleting a  shoe  before  the  serenade  is 
ended.  David,  who  fancies  the  sere- 
nade intended  for  Magdalene,  his  eld- 
erly sweetheart,  rushes  out  and  beats 
Beckmesser,  a  crowd  assembles,  at- 
tracted by  the  brawl,  but  Sachs  forces 
Walther  and  David  into  his  shop, 
Pogner  drags  Eva  into  her  home,  and 
when  order  has  been  restored,  the 
watchman  appears  to  disperse  the 
crowd.  When  the  curtain  rises  again, 
Sachs  is  reading  in  his  shop.  Walther 
appears,  and  as  he  improvises  a  song, 
the  cobbler  notes  it  down,  and  suggests 
such  alterations  as  are  necessary. 
Two  stanzas  are  composed  in  this 
way,  and  Walther  retires  to  his  room 
to  think  out  a  third.  Beckmesser  en- 
ters, and  finding  on  the  table  just 
such  a  song  as  he  needs  for  his  own 
use  in  the  tourney,  puts  it  in  his 
pocket.  Sachs,  who  had  stepped  out 
for  a  moment,  returns  and  is  reviled 
by  Beckmesser  for  having  conspired 
against  him.  As  proof,  he  flourishes 
the  song,  but  Sachs  tells  him  he  may 
keep  it,  and  he  rushes  away  in  delight 
to  compose  a  melody  for  it.  Pretend- 
ing to  be  in  need  of  the  cobbler's 
services,  Eva  enters,  hoping  to  see  Wal- 
ther again.  While  Sachs  busies  him- 
self with  her  shoes,  Walther,  who  has 
at  last  completed  his  prize  song,  sings 
the  final  verse.  The  delighted  Sachs 
declares  Walther  has  created  a  new 


art,  and  as  David  enters  with  Magda- 
lene,   makes    the    apprentice   a   jour- 
neyman,  and   all   join   in   a   quintet 
which  is  one  of  the  most  popular  num-  • 
bers  in  the  opera.    The  scene  shifts  to 
the  banks  of  the  Pegnitz,  where  the 
guilds    of    the    various    crafts    come 
marching  in  for  the  song  tourney.  The 
Mastersingers  assemble,  Pogner  comes 
with  his  lovely  daughter,  and  Sachs 
steps  forward  to   begin  the  tourney. 
The  people  interrupt  by  singing  one 
of  the  cobbler's  own  songs,  but  when 
he  tells  them  the  unusual  nature  of 
the  contest,  they  wait  patiently  while 
Beckmesser   attempts   the   verses   ob- 
tained from  Sachs  to  the  tune  he  had 
already  used  as  a  serenade.    Finally  he 
breaks  down,  and  accuses  Sachs  of  hav- 
ing tricked  him.     The  cobbler  replies 
that  the  song  is  a  good  one,  though 
not  his,  and  Walther  sings  it.     The 
enthusiasm   of   the   people   is   hardly 
greater  than  that  of  the  Mastersingers, 
and  Pogner   unites   the  lovers.     The 
original  cast  was:    Hans  Sachs,  Betz, 
bass;      Veit     Pogner,     bass;      Sixtus 
Beckmesser,  Hozel,  bass;    Fritz  Koth- 
ner,    bass;     Walther    von    Stolzing, 
Nachbauer,    ten.;     David,    Schlosser, 
ten.;    Eva,   Mallinger,  sop.;    Magda- 
lene, Dietz,  sop.    The  opera  is  said  to 
have    been    Wagner's    reply    to    the 
charges  made  by  his  enemies  that  he 
could  n't  write  melody.    However  that 
may  be,  the  satire  presents  a  faith- 
ful if  exaggerated  picture  of  the  foi- 
bles of  the  Meistersingers,  and  in  Hans 
Sachs  introduces  at  least  one  historical 
personage  upon  the  stage.     The  prin- 
cipal musical   numbers   are:     Act  I: 
"Das  Schone  Fest,  Johannis-Tag,"  Pog- 
ner; "  So  rief  der  Lenz  in  den  Wald," 
Walther ;     Act    II :    "  Jerum,    jerum, 
halla,  halla,  he !  "  Sachs ;  "  Den  Tag 
deh'  ich  erscheinen,"  Beckmesser;  Act 
III:  "Wahn!  wahn!  Ueber  all  wahn ! " 
Sachs ;   "  Morgenlich  leuchtend  in  ro- 
sigen  Schein,"  Walther's  prize  song; 
"Verachtet   mir   der   Meister  nicht," 
Sachs;  " Heil  Sachs!     Hans  Sachs!" 
chorus. 

Mel,  del  (Binaldo)  composed  five 
books  of  motets  and  15  boota  of  mad- 
rigals, published  between  1581  and 
1595  at  Eome,  prior  to  'which  he  had 


StELAKGE 


381 


MELTZEB 


been  court  musician  to  the  King  of 
Portugal;  musician  to  the  Duke  of 
Bavaria  and  the  Cardinal  Archbishop 
of  Bologna ;  known  as  "  Gentilhuomo 
Fiamengo  " ;  pupil  of  Palestrina.  B. 
probably  at  Schlettstadt,  Lorraine; 
d.  after  1595. 

Melange.    Fr.-   Medley. 

Melba  (ITellie  Porter  Armstrong) 
sang  aop.  in  opera,  debut  Oct.  27, 
1887,  at  the  Theatre  de  la  Monnaie, 
Brussels,  as  Gilda,  later  with  distin- 
guished success  in  the  principal  cities 
of  Europe  and  America.  Daughter  of 
David  Mitchell,  a  Scotchman  settled 
in  Australia,  her  first  appearance  took 
place  at  six  in  the  town  hall  of  Mel- 
bourne. Later  she  had  lessons  in  pi- 
ano, harmony,  and  composition,  and 
played  organ  in  churches.  Her  father 
objected  to  music  as  a  career,  however, 
and  not  until  after  her  marriage  in 
1882  to  Capt.  Charles  Armstrong,  did 
she  become  a  professional  singer.  Her 
voice  ranged  from  b  flat  to  f",  and  her 
rales  included  Juliette,  Violetta,  Ro- 
sina,  the  Queen  in  "  Les  Huguenots," 
Nedda,  "  Helene  "  ( Saint-Saens ) , 
Elsa,  Michaela.  Mme.  Melba  (the 
name  derived  from  Melbourne)  was 
long  a  favorite  singer  at  the  Paris 
Opfira,  Covent  Garden,  London,  and 
in  1808  at  th-"  Manhattan  Opera 
House,  New  Yoi.  City.  B.  May  19, 
1859,  Burnley,  near  Melbourne;  add. 
London. 

Blelgounov  (Julius  Nioholae- 
vich.)  wrote  "  Russian  Songs,"  em- 
bodying the  results  of  his  investiga- 
tion of  folklore  melodies,  "On  Rus- 
sian National  Music,"  "The  Rhythm 
of  the  Slavonic  Folk-songs";  played 
piano;  pupil  of  Dreshock  and  La- 
roche.  B.  Aug.  30,  1846,  Vetlouga; 
d.  Mar.  19,  1893,  Moscow. 

Mellsma.  Gr.  "Song."  Tune  or 
melody;     grace    notes;     flourish. 

Melismatik.     Qer.    Florid  song. 

Mell  (Davis)  played  violin;  be- 
came master  of  the  King's  band,  Lon- 
don, on  the  Restoration.  B.  Nov.  15, 
1604,  Wilton,  near  Salisbury;  last 
compositions  in  the  "  Division  Vio- 
lin," 1684. 

Mellon  (Alfred)  conducted  opera 
at  Covent  Garden,  London,  and  from 


1865  the  Liverpool  Philharmonic  So- 
ciety; played  violin.  B.  April  17, 
1821,  London;   d.  Mar.  27,  1867. 

Melodia.     It.    Melody. 

Melodico.    It.    Melodious. 

Melodicon.  Instrument  of  the 
XYLOPHONE  type,  but  having  re- 
sonance bars  of  steel  instead  of  wood. 

Melodie.    ffr.    Melody. 

Melodists'  Club  was  founded  by 
Charles  Dibdin,  London,  1825  to  pro- 
mote the  composition  and  singing  of 
ballads ;  awarded  prizes  and  gave  con- 
certs until   1856,   when  it  ceased  to 

Melodium.     AMERICAN  ORGAN. 

Melodram.    Ger.    MELODRAMA, 

Melodrama.  Drama  introducing 
many  songs  and  with  orchestral  ac- 
companiment in  certain  parts  of  the 
spoken  dialogue,  but  in  which  the 
dialogue  is  of  greater  importance 
than  the  music.  The  term  is  often 
applied  to  sensational  romantic  plays 
of  the  cheaper  sort,  although  melo- 
drama is  more  nearly  akin  to  ballad 
opera. 

Melodrame.     Fr.     MELODRAMA. 

Melodramma..  /*.    MELODRAMA. 

Melody.  A  pleasing  succession  of 
musical  tones  as  uttered  by  a  single 
voice  or  instrument  or  voices  and 
instruments  in  unision,  as  opposed  to 
harmony  or  the  combination  of  such 
tones. 

Melograph.  Piano  with  a  device 
attached  for  recording  the  notes  as 
they  are  played. 

Melophonio  Society  gave  concerts 
of  classical  music  in  London  for  sev- 
eral years,  beginning  with  1837. 

Melopiano.  Device  invented  in 
1870  by  Caldera  of  Turin  for  produc- 
ing sustained  tones  on  the  piano  by 
the  action  of  a  series  of  rapidly  vi- 
brating hammers. 

Melopoeia.  Gr.  Music  in  its  most 
comprehensive  sense. 

Melos.     Qr.    Melody;    song. 

Meltzer  (Charles  Henry)  wrote 
music  criticism,  New  York  "Ameri- 
can," 1907-8,  having  previously  served 
as  Paris  correspondent  of  the  Chicago 
"  Tribune,"  staff  correspondent  of  the 
New  York  "  Herald,"  music  and  dra- 
matic critic  of  the  New  York  "Herald," 


MELTTSINA 


383 


HENDELSSOHir 


1888-92,  and  press  representative  of 
the  Metropolitan  Opera  Company. 
Mr.  Meltzer  wrote  several  plays  and 
made  excellent  poetic  versions  of  the 
libretto  to  "  Walkuere  "  and  Haupt- 
mann's  "  Sunken  Bell."  He  was  a 
pupil  of  the  Paris  Sorbonne.  B.  Lon- 
don, June  7,  1853  (of  Russian  parents, 
naturalized  in  England) ;  add.  New 
York. 

Helusina.  Felix  Mendelssohn's 
fourth  concert  overture,  Op.  32,  was 
first  performed  at  Diisseldorf,  1833. 

]V[gme  Mouvement.  Fr.  The  same 
movement. 

IXen  or  Ileno.  It.  "Less,"  as 
meno  piano,  less  soft. 

IVEendel  (Hermann)  wrote  lives  of 
Meyerbeer  and  Nicolai;  edited 
the  "  Musikalisches  Conversations- 
Lexikon."  B.  Aug.  6,  1834,  Halle; 
d.  Oct.  26,  1876,  Berlin. 
.  lEendelssohn  (Felix)  composed 
the  oratorios  "St  Paul,"  "Elijah," 
symphonies,  including  the  so-called 
"  Scotch,"  and  "  Italian,"  a  celebrated 
concerto  for  violin,  "A  Midsummer 
Night's  Dream,"  and  other  overtures, 
the  exquisite  "  Songs  without  Words  " 
for  piano;  was  a  virtuoso  performer 
on  the  organ  and  piano,  one  of  the 
foremost  representatives  of  the  older 
school  of  conducting,  and  the  greatest 
of  the  many  eminent  musicians  pro- 
duced by  the  Jewish  race.  The  family 
was  descended  from  Mendel,  who  was 
schoolmaster  of  Dessau.  Moses  Men- 
delssohn, son  of  the  schoolmaster,  dis- 
tinguished himself  in  literature,  set- 
tling in  Berlin,  where  his  "  Phsedon  " 
was  published  in  1767.  Abraham,  sec- 
ond son  of  Moses,  became  a  prosperous 
banker  in  Berlin,  and  was  a  man  of 
wide  culture,  though  chiefly  known  in 
history  as  the  son  of  his  father  and 
the  father  of  his  son.  He  adopted  the 
Christian  faith,  and  added  the  name 
"  Bartholdy  "  to  his  patronymic,  and 
by  inheritance  and  the  rite  of  baptism 
the  great  composer,  son  of  Abraham 
and  his  wife,  Lea  Salomon,  became 
Jakob  Ludwig  Felix  Mendelssohn- 
Bartholdy.  A  singularly  beautiful  de- 
votion marked  the  family  life  of  the 
Mendelssohns.  Felix  was  born  in 
Hamburg,  where  his  father  was  en- 


gaged in  business,  but  the  French 
occupation  of  that  city  caused  the 
family  to  return  to  Berlin  when  he 
was  but  three  years  old.  The  mother 
discovered  that  her  son  had  "  Bach 
fugue  fingers,"  and  he  shared  with  his 
elder  sister  Fanny  maternal  instruc- 
tion at  the  piano,  which  began  with 
five  minute  lessons.  During  a  sojourn 
in  Paris,  Felix,  then  seven  years  of 
age,  and  his  sister,  had  lessons  of 
Mme.  Bigot,  and  when  tjhe  family  was 
again  united  in  Berlin  flhe  youngsters 
studied  piano  with  L.  Berger,  violin 
with  Henning,  and  theory  with  Zelter. 
At  the  same  time  the  foundations  of  a 
general  classical  education  were  laid. 
At  10  the  boy  made  his  first  appear- 
ance at  a  public  concert,  playing  the 
piano  part  in  a  trio,, and  the  following 
year  he  was  entered  at  the  Singaka- 
demie  as  an  alto.  In  that  year,  1819, 
the  boy's  setting  of  Psalm  xix  was 
performed  at  the  Akademie.  At  12  he 
began  that  collection  of  his  composi- 
tions which  eventually  reached  44  vol- 
umes. These  early  attempts  included 
chamber  music,  part-songs,  a  cantata, 
a  comedy  with  music  (Lustspiel),  and 
the  one-act  operas  "  Soldatenlieb- 
schaft,"  "  Die  beiden  Padagogen,"  and 
part  of  another,  "  Die  wanderernden 
Comodianten."  A  meeting  with  von 
Weber  at  Berlin  and  a  16  days'  visit 
to  Goethe  at  Weimar  were  incidents 
of  1821.  In  1822  he  again  played  in 
concert;  joined  his  family  in  a  tour  of 
Switzerland,  and  made  a  second  visit 
to  Weimar.  Quartets,  songs,  a  Kyrie 
for  two  choirs,  and  the  opera  "  Die 
beiden  Neffen,"  or  "Der  Onkle  aus 
Boston,"  were  composed  at  this  period, 
and  all  were  performed  at  the  Sunday 
musical  entertainments  given  by  the 
Mendelssohn  family  at  their  home  in 
Berlin.  From  the  first  the  boy  showed 
remarkable  talent  for  improvising,  and 
it  is  said  that  during  his  first  visit  to 
Goethe  he  extemporized  the  develop- 
ment of  a  Bach  fugue  which  the  great 
poet  asked  to  hear.  In  1824  Mendels- 
sohn received  lessons  from  Moscheles, 
scored  his  first  symphony,  C  minor. 
Op.  11.  In  1825  he  visited  Paris  with 
his  father,  was  welcomed  by  the  best 
musicians  of  the  French  capital,  and 


UENDELSSOHIT 


383 


MENDELSSOHN 


on  advice  of  Cherubini,  composed  a 
five-part  Kyrie  with  orchestra,  which, 
though  the  score  has  disappeared,  he 
considered  "  the  biggest  thing  he  had 
yet_  done."  Returning  by  way  of 
Weimar,  he  played  his  B  minor  quar- 
tet for  Goethe,  and  dedicated  it  to 
him,  an  honour  which  the  poet  re- 
turned by  addressing  some  verses  to 
him.  The  family  removed  from  their 
house  on  the  Neue  Promenade  to  a 
more  commodious  residence,  sur- 
rounded by  spacious  grounds  and  hav- 
ing a  large  garden  house  on  the  site 
now  occupied  by  the  Herrenhaus. 
There  Mendelssohn  reached  manhood 
in  music  with  his  Octet  for  strings, 
Op.  18,  and  there,  in  the  garden  house, 
his  Midsummer  Night's  Dream  over- 
ture had  its  first  performance,  the 
composer  conducting,  in  1827.  The 
opera  "  Gamacho  "  had  been  submitted 
to  Spontini  the  previous  year,  and  it 
likewise  was  performed  in  1827,  but 
was  withdrawn  after  the  first  per- 
formance, having  been  cheered  by  his 
friends  but  vigorously  attacked  by  the 
critics.  Mendelssohn  was  at  this  time 
a  student  in  Berlin  University.  He 
made  what  is  said  to  have  been  the 
first  metrical  translation  of  Terence 
into  Grerman,  and  worked  hard  at  the 
modern  languages.  That  winter  a 
choir  of  music  lovers  Mendelssohn  or- 
ganized at  his  home  began  to  practice 
Bach's  Passion  according  to  St.  Mat- 
thew. Its  performance  in  1828  aroused 
general  interest  and  led  to  the  forma- 
tion of  the  Bach  Gesellschaft.  In  1829 
Mendelssohn  was  authorized  to  con- 
duct a  performance  of  this  Passion  at 
the  Singakademie.  This  extended  his 
reputation  throughout  Europe,  but 
aroused  the  ill-will  of  the  Berlin  mu- 
sicians, the  Royal  orchestra  thereafter 
declining  to  play  under  his  baton. 
The  composer,  then  in  his  20th  year, 
determined  to  visit  England.  On  May 
25,  he  conducted  his  C  minor  sym- 
phony at  the  concert  of  the  London 
Philharmonic  Society,  where  his  re- 
ception was  most  cordial.  Two  other 
concerts  at  which  he  played  piano  con- 
firmed him  in  that  popularity  with 
the  English  public  which  proved  a  life 
long  asset,  and  he  was  elected  an  hon- 


orary member  of  the  Philharmonic 
Society.  It  was  during  this  sojourn 
in  London  that  he  declined  the  task 
of  writing  a  hymn  to  celebrate  "  the 
emancipation  of  the  natives  of  Cey- 
lon," although  he  humorously  de- 
scribed himelf  as  "composer  to  the 
Island  of  Ceylon"  in  letters  to  his 
family.  A  tour  of  Scotland  inspired 
the  "  Hebrides  "  overture,  afterwards 
played  with  great  success  in  London, 
as  well  as  the  "  Scotch "  symphony, 
and  he  was  also  engaged  in  working 
out  his  "  Reformation  "  symphony  for 
the  tercentenary  celebration  of  the 
Augsburg  Confession  of  Faith,  an 
operetta  for  the  silver  wedding  of  his 
parents,  and  his  Scotch  sonata  for 
piano  (the  F  sharp  minor  Fantasia, 
Op.  28 ) .  Returning  home,  he  was  of- 
fered the  chair  of  music  at  Berlin 
University,  a  post  created  in  his 
honour,  but  declined  it  in  favor  of 
Marx,  and  in  the  spring  of  1830  set 
out  for  a  long  anticipated  teur  of 
Italy,  accompanied  by  his  younger  sis- 
ter Rebecca.  On  his  way  he  stopped 
at  Weimar,  where  he  was  closely  as- 
sociated with  Goethe  for  two  weeks, 
at  Vienna,  where  he  found  to  his  dis- 
gust that  Mozart,  Haydn,  and  Bee- 
thoven were  being  forgotten;  at 
Presburg,  where  he  attended  the  coro- 
nation of  the  King  of  Hungary,  and 
on  Oct.  9  arrived  at  Venice.  A  de- 
lightful account  of  his  wanderings 
through  Italy,  including  brief  so- 
journs in  Bologna,  Florence,  Rome 
and  Naples,  will  be  found  in  his 
"  Letters  from  Italy."  Returning 
north  by  way  of  Switzerland,  he 
reached  Munich  in  the  fall  of  1831, 
played  in  a  concert  devoted  to  his 
own  compositions,  and  then  travelled 
to  Paris,  where  he  was  welcomed  at 
the  best  concerts,  both  as  composer 
and  pianist.  Tiring  of  the  French 
capital,  he  again  visited  London, 
played  in  several  concerts,  had  the 
satisfaction  of  hearing  his  larger 
works  at  others,  and  issued  the 
first  book  of  his  "  Songs  without 
Words"  (Lieder  Ohne  Worte),  which 
had  a  greater  vogue  than  anything 
published  in  England  since  the  death 
of  Handel.     Returning  to  Berlin,  he 


HEITDELSSOHIT  384  SEEKDELSSOHN 

was  proposed  as  a  candidate  for  the  turn  to  Berlin  as  director  of  the 
directorship  of  the  Singakademie  in  musical  section  of  a  proposed  Acad- 
succession  to  Zelter.  Racial  antip-  emy  of  Fine  Arts,  an  offer  which 
athy,  his  early  unpopularity  with  the  Mendelssohn  accepted.  On  his  de- 
rank  and  file  of  the  musicians,  and  parture,  the  King  of  Saxony  made 
the  unwise  interference  of  friends  him  his  chapelmaster.  A  few  months 
brought  about  his  defeat.  He  gave  later  he  received  the  same  title  from 
three  successful  public  concerts  in  the  King  of  Prussia,  and  the  foUow- 
Berlin,  however,  began  the  "  Italian "  ing  summer  received  the  Prussian 
symphony  commissioned  by  the  Lon-  Ordre  pour  Merite.  The  success  with 
don  Philharmonic  Society,  and  was  which  his  music  to  the  Greek  play 
cheered  by  an  invitation  to  conduct  "  Antigone "  was  received,  a  number 
the  Lower  Bhine  Festival  at  Diissel-  of  excellent  concerts,  a  triumphal  en- 
dorf,  1833.  Another  visit  to  London,  gagement  in  London,  and  a  sixth  in- 
attended  by  his  usual  success  as  a  vitation  to  conduct  the  Lower  Rhine 
pianist  and  the  performance  of  his  Festival,  failed  to  restore  Mendels- 
new  symphony,  was  followed  by  the  sohn's  popularity  in  Berlin.  The 
festival  at  Dusseldorf,  where  his  Academy  project  proved  a  failure  so 
work  was  so  much  appreciated  that  far  as  Mendelssohn  and  music  were 
he  was  engaged  as  general  director  of  concerned,  and  he  asked  permission 
the  town  at  about  $450  per  annum  to  leave  Berlin.  The  King,  however, 
(600  thalers),  an  appointment  which  induced  him  to  accept  an  appoint- 
paved  the  way  for  his  post  at  Leipsic  ment  as  General  Music  Director  of 
as  conductor  at  the  GEWANDHAUS,  the  Domchor.  Returning  to  Leipsic, 
1835.  In  Leipsic,  with  Ferdinand  Mendelssohn  established  the  Con- 
David  as  concertmeister,  Mendelssohn  servatory  on  a  secure  basis,  began 
speedily  built  up  the  foremost  or-  his  incidental  music  for  "Athalie," 
chestra  in  Europe.  The  University  "  The  Tempest,"  and  "  Midsummer 
of  Leipsic  gave  the  degree  Dr.  Phil.,  Night's  Dream,"  and  gave  the  fin- 
and  in  1837  he  was  asked  to  conduct  ishing  touches  to  his  "  Walpurgis- 
the  Birmingham  Festival.  Meantime  nacht."  In  1843  he  produced  Gade's 
a  professional  visit  to  Frankfort  had  C  minor  symphony  at  the  Gewand- 
brought  about  a  meeting  with  Ce-  haus,  enabled  Berlioz  to  obtain  a 
cile  Charlotte  Sophie  Jeanrenaud,  hearing  t'lere,  and  then  returned  to 
daughter  of  a  French  clergyman,  and  his  duties  at  Berlin,  leaving  Hiller  to 
on  Mar.  28,  1837,  she  became  his  conduct  at  the  Gewandhaus.  In  1844 
wife.  His  best  oratorio  "  St  Paul "  he  accepted  an  invitation  to  conduct 
(Paulus),  which  he  had  conducted  at  five  concerts  for  the  London  Philhar- 
the  Lower  Rhine  Festival  of  the  previ-  monic  Society,  but  declined  an  invita- 
ous  year,  was  given  in  London  in  1837,  tion  to  conduct  a  New  York  music  fes- 
and  later,  under  his  own  baton  at  the  tival.  Conditions  in  Berlin  becoming 
Birmingham  Festival  with  great  sue-  more  and  more  irksome,  Mendelssohn 
cess.  Then  he  hurried  back  to  Leip-  withdrew  from  his  official  position 
sic  for  the  beginning  of  the  concert  there,  and  the  following  year  returned 
season,  devoting  himself  almost  to  his  old  desk  at  the  Grewandhaua, 
wholly  to  his  duties  there  for  the  Leipsic.  He  induced  Mosoheles  to 
next  few  years,  although  he  con-  join  him  at  the  Conservatory,,  and 
ducted  the  festival  at  Cologne  and  besides  the  routine  of  concerts  and 
made  short  visits  to  Berlin,  Dussel-  teaching,  worked  at  the  oratorio 
dorf  and  Frankfort.  In  1840  he  was  "  Elijah,"  taking  time,  however,  to 
instrumental  in  founding  the  LEIP-  fill  a  seventh  engagement  as  condue- 
SIC  CONSERVATORY  as  well  as  in  tor  at  the  Lower  Rhine  Festival, 
erecting  a  monument  to  Johann  "Elijah"  was  performed  Aug.  26, 
Sebastian  Bach  in  front  of  the  1846,  at  the  Birmingham'  Festival, 
THOMASSCHULE.  In  1841  Fred-  where  the  composer  said  it  was  "  ad- 
erick  William  IV  invited  him  to  re-  mirably  performed   and   received  by 


UENDELSSOHKT  385 

both  musicians  and  public  with  more 
enthusiasm  than  had  ever  been  shown 
one  of  his  works."  In  1847  he  con- 
tinued his  labours  at  Leipsic,  began 
the  composition  of  the  oratorio 
"Christus,"  and  made  his  tenth  and 
last  visit  to  London,  this  time  again 
to  conduct  performances  of  "Elijah." 
Fanny  Mendelssohn,  who  had  married 
Hensel  the  painter,  died  in  Berlin, 
May  14.  The  news  was  received  by 
Mendelssohn  while  in  Frankfort,  on 
his  way  home  from  London,  and  the 
shock  caused  him  to  faint  away.  The 
death  of  his  father  and  mother  some 


XCEirSELSSOHN 

64  in  E  minor.  Chamber  Music: 
For  fvoe  and  more  instruments.  Octet 
for  4  Violins,  2  Violas,  and  2  'cellos. 
Op.  20  in  E  flat;  First  quintet  for 
2  Violins,  2  Violas,  and  'cello.  Op.  18 
in  A;  Second  quintet  for  2  Violins, 
2  Violas,  and  %ello,  Op.  87  in  B 
flat.  Quartets  for  2  Violins,  Viola, 
and  'Cello.  First  Quartet,  Op.  12 
in  E  flat;  Second  Quartet,  Op.  13 
in  A  min.;  Third  Quartet,  Op.  44, 
No.  1,  in  D;  Fourth  Quartet,  Op. 
44,  No.  2,  in  E  min.;  Fifth  Quartet, 
Op.  44,  No.  3,  in  E  flat;  Sixth  Quar- 
tet,   Op.    80,    in    F    min.;    Andante, 


years_  before  had  been   severe  blows.    Scherzo,  Capricoio,  and  Fugue,  Op.  81 


but  in  his  enfeebled  condition,  the 
result  of  excessive  toil,  the  loss  of 
his  favorite  sister  proved  the  begin- 
ning of  the  end.  He  did  not  cease  to 
compose,  and  the  string  quartet  in  F 


in  E,  A  min.,  E  min.,  and  E  flat.  For 
Wind  Instruments.  Overture,  Op.  24 
in  C;  Funeral  March,  Op.  103  in  A 
min.;  Two  <coneert  pieces  for  Clari- 
net and  Basset  horn  with  piano  ac- 


minor.  Op.  80,  proves  that  his  cunning   comp.,   No.    1,   Op.    113   in   F   min, 


was  unimpaired,  while  reflecting  his 
grief.  But  his  spirit  was  broken. 
Again  in  Leipsic,  surrounded  by  his 
family  and  friends,  he  felt  unable  to 
conduct,  and  fell  into  a  decline  from 
which  he  never  rallied.  B.  Feb.  3, 
1809,  Hamburg;  d.  Leipsic,  Nov.  4, 
1847.  See  his  letters,  Eng.  trans.; 
biographies  by  Lampadius,  Benedict, 
Devrient  and  Hiller,  all  in  Eng.  trans, 
as  well  as  Carl  Mendelssohn-Bart- 
holdy's  "Goethe  und  Felix  Mendel- 
ssohn Bartholdy."    A  nearly  complete 


Two  Concert  pieces  for  Clarinet  and 
Basset  horn  with  piano  accomp.. 
No.  2,  Op.  114,  in  D  min.  Piano 
Music:  For  Piano  and  Orchestra. 
First  Concert,  Op.  25  in  G-  min.; 
Second  Concert,  Op.  40 .  in  D  min. ; 
Capriocio  brill..  Op.  22  in  B  min.; 
Rondo  brill.,  Op.  29  in  E  flat;  Sere- 
nade and  Allegro  giojoso.  Op.  43  in 
D.  For  Piano  and  String  Instru- 
ments. Sextet  for  Piano,  Violin,  2 
Violas,  'cello,  and  Doublebass,  Op. 
110  in  D;   First  Quartet  for  Piano, 


catalogue   of   Mendelssohn's   composi-   Violin,  Viola,  and  'cello,  Op.  1  in  C 


tions  follows:  Orchestral  Worts: 
Symphonies.  First  Symphony,  Op.  11 
in  C  min. ;  Symphony-Cantata,  Op.  52, 
No.  93,  Hymn  of  Praise;  Thixd  Sym- 
phony, Op.  56  in  A  min. ;  Fourth  Sym- 
phony, Op.  90  in  A  min.;  Fifth  (Ref- 
ormation-) Symphony,  Op.  107  in  D 
min.  Overtures.  Wedding  of  Ca- 
macho.  Op.  10  in  E;  Midsummer 
Night's  Dream,  Op.  21  in  E ;  Pingal's 
Grotto  (Hebrides)^  Op.  26  in  B  min.; 
A  calm  Sea  and  a  prosperous  Voyage, 
Op.  27  in  D;  Tale  of  fair  Melusina, 
Op.  32  in  F;  St.  Paul,  Oratorio,  Op. 
36  in  A;  Athalia,  Op.  74  in  F;  Son 
and  Stranger,  Op.  89  in  A;  Ruy  Bias, 
Op.  95  in  C  min.;  Trumpet-Overture, 
Op.  101  in  C.  Marches.  No.  29a, 
Cornelius-March,  Op.  108  in  D.  For 
Violin  and  Orchestra,     Concert,  Op. 


25 


Second  Quartet  for  Piano  Vio- 
lin, Viola,  and  'cello.  Op.  2  in  F 
min. ;  Third  Quartet  for  Piano,  Vio- 
lin, Viola,  and  'cello.  Op.  3  in  B  min.; 
First  Grand  Trio  for  Piano,  Violin, 
and  'cello.  Op.  49  in  D  min.;  Second 
Grand  Trio  for  Piano,  Violin,  and 
'cello.  Op.  66  in  C  min.;  Sonata  for 
Piano  and  Violin,  Op.  4  in  F  min.; 
Concerted  Variations  for  Piano  and 
'cello.  Op.  17  in  D;  Sonata  for  Piano 
and  'cello.  Op.  45  in  B  flat;  Sonata 
for  Piano  and  'cello,  Op.  58  in  D; 
Song  without  Words  for  'cello  and 
Piano,  Op.  109  in  D.  For  Piano 
Duets.  Andante  and  Variations,  Op, 
83a  in  B  flat;  AUegero  brillant.  Op. 
92  in  A.  For  Piamo  Solo.  Capricoio, 
Op.  5  in  F  sharp  min.;  Sonata,  Op. 
6  in  E;    7  Characteristic  Pieces,  Op, 


UENSELSSOHIT 


386 


JVEENBEIiSSOHIT 


7;  Rondo  Capriceioso,  Op.  14  in  E; 
Fantasia,  Op.  IS  in  E;  3  Fantasias  or 
Caprices,  Op.  16  in  A,  E  min.,  and  E; 
Fantasia,  Op.  28  in  F  sharp  minor; 
Andante  cantabile  and  Presto  agitato 
in  B;  Study  and  Scherzo  in  F  min. 
and  B  min.;  Study  in  F  min.; 
Scherzo  in  B  min.;  Gondola  Song  in 
A;  Scherzo,  a  Capriccio  in  F  sharp 
min. ;  3  Caprices,  Op.  33  in  A  min.,  E 
and  B  flat  min.;  No.  1,  Caprice  in  A 
min.;  No  2,  Caprice  in  E;  No.  3, 
Caprice  in  B  flat  min.;  6  Preludes 
and  6  Fugues,  Op.  35;  17  Variations 
serieuses.  Op.  54 ;  6  Christmas  Pieces, 
Op.  72;  Variations,  Op.  82  in  E  flat; 
Variations,  Op.  83  in  B  flat;  3  Pre- 
ludes and  3  Studies,  Op.  104;  No.  1, 
Preludes  in  B  flat;  No.  2  and  3,  Prel. 
in  B  min.  and  D. ;  Studies,  No.  1  and  3, 
Study  in  B  flat  min.  and  A  min.;  No. 
2,  Study  in  F;  Sonata,  Op.  105  in  G 
min.;  Sonata,  Op.  106  in  B  flat;  Al- 
bum Leaf  (Song  without  Words),  Op. 
117  in  E  min.;  Capriccio,  Op.  118  in 
E;  Perpetuum  mobile.  Op.  119  in  0; 
Prelude  and  Fugue  in  E  min.; 
2  Pianoforte  Pieces  in  B  flat  and  G 
min.;  Singly:  No.  1,  in  B  flat;  No. 
2,  in  G  min.  Songs  without  Words. 
Songs  without  Words,  Part  1,  Op. 
19b;  2,  Op.  30;  3,  Op.  38;  4,  Op. 
53;  5,  Op.  62;  6,  Op.  67;  7,  Op. 
85;  8,  Op.  102.  For  Organ.  3  Pre- 
ludes and  Fugues,  No.  1  in  C  min., 
No.  2  in  G,  No.  3  in  D  min..  Op.  37. 
6  Sonatas.  No.  1  in  F  min..  No.  2  in 
C  min.,  No.  3  in  A,  No.  4  in  B  flat. 
No.  5  in  D,  No.  6  in  D  min.,  Op.  65. 
Vocal  Music:  Oratorios.  St.  Paul,  Op. 
36;  Elijah,  Op.  70;  Christus,  Recita- 
tives and  Choruses,  Op.  97.  Sacred 
Vocal  Works.  For  Solo  Voices, 
Chorus,  and  Orchestra.  Psalm  115  for 
Chorus,  Solo,  and  Orchestra,  Op.  31; 
Psalm  42  for  Chorus,  Solo,  and  Or- 
chestra, Op.  42 ;  Psalm  95  for  Chorus, 
Solo,  and  Orchestra,  Op.  46;  Psalm 
114  for  eight-part  Chorus  and  Orches- 
tra, Op.  51;  Psalm  98  for  eight-part 
Chorus,  Solo,  and  Orchestra,  Op.  91; 
Hymn  of  Praise,  Symphony-Cantata, 
Op.  52;  "Lauda  sion"  for  Chorus, 
Solo,  and  Orchestra,  Op.  73;  Hymn 
for  an  Alto  Voice  with  Chorus  and 
Orchestra,  Op.  96;    "Tu  es  Petrus" 


for  five-part  Chorus  and  Orchestra, 
Op.  Ill;  " Hear  my  Prayer  "  for  Cho- 
rus and  Orchestra.  For  Solo  Voices, 
Chorus,  and  Organ  (or  Piano). 
Church  Music  for  Chorus  and  Solo 
Voices  with  Organ,  Op.  23;  3  Motets 
for  female  Voices  with  Organ  or  Pi- 
ano, Op.  39;  2  Sacred  Songs  for  one 
Voice  with  Piano,  Op.  112;  Response 
and  Hymn  for  male  Voices  and  Organ, 
Op.  121 ;  3  Sacred  Songs  for  an  Alto 
Voice  with  Chorus  and  Organ;  Hymn 
for  one  Soprano  Voice  with  Chorus 
and  Organ;  Te  Deum  for  Solo  and 
Chorus  with  Organ.  For  Solo  Voices 
and  Chorus  without  Accompaniment. 
Psalm  2  for  Chorus  and  Solo  Voices, 
Op.  78,  No.  1 ;  Psalm  43  for  eight-part 
Chorus,  Op.  78,  No.  2;  Psalm  22  for 
Chorus  and  Solo  Voices,  Op.  78,  No. 
3;  Psalm  100  for  mixed  Chorus;  3 
Motets  for  Chorus  and  Solo  Voices, 
Op.  69,  No.  1,  No.  2,  No.  3;  6  Sen- 
tences for  eight-part  Chorus,  Op.  79; 
2  Sacred  Choruses  for  male  Voices, 
Op.  115;  Mourning-song  for  mixed 
Chorus,  Op.  116 ;  "  Ehre  sei  Gott  in  der 
Hohe "  for  mixed  (double)  Chorus; 
"  Heilig  "  for  mixed  (double)  Chorus; 
"Kyrie  eleison"  for  mixed  (double) 
Chorus ;  Zum  Abendsegen  ( at  evening 
prayer)  for  mixed  Chorus.  Larger 
Secular  Vocal  Works.  Music  to  Antig- 
one by  Sophocles,  Op.  55;  Music  to 
Athalia  by  Racine,  Op.  74;  Music  to 
Oedipus  in  Kolonos  by  Sophocles,  Op. 
93;  Music  to  the  Midsummer  Night's 
Dream  by  Shakespeare,  Op.  61;  The 
first  Walpurgis  night.  Ballad  by 
Goethe,  Op.  60;  Festival  Song  "An 
die  Ktlnstler"  after  Schiller's  poem, 
Op.  68;  Festival  Song  on  the  centen- 
ary celebration  of  the  invention  of 
printing;  The  Wedding  of  Camacho, 
Comic  Opera  in  2  Acts,  Op.  10;  Son 
a  Stranger,  Liederspiel  in  1  Act,  Op. 
89;  Loreley,  Fragmentary  Opera,  Op. 
98 ;  Concert- Aria  for  a  Soprano  Voice 
with  Orchestra,  Op.  94.  Song  for  So- 
prano, Alto,  Tenor,  and  Bass.  6  Songs, 
Op.  41,  In  the  Wood,  3  Popular  Songs, 
May  Song,  On  the  Lake.  6  Songs,  Op. 
48,  Foreboding  of  Spring,  Primrose, 
Celebration  of  Spring,  Singing  of 
Larks,  Morning  Prayer,  Autumnal 
Song.     6  Songs,  Op.  59,  In  Verdure, 


UENBELSSOHN 


387 


KEITSELSSOHIT 


Early  Spring,  In  Leaving  the  Wood, 
The  Nightingale,  Valley  of  Repose, 
Hunting  Song.  6  Songs,  Op.  88,  New 
Year's  Song,  The  Happy  Man,  Shep- 
herd's Song,  The  little  Wood-bird, 
Germany,  Itinerant  Musician.  4 
Songs,  Op.  100,  Remembrance,  Praise 
of  Spring,  Vernal  Song,  In  the  Wood. 
Ballads  and  Songs  for  four  Male 
Voices.  6  Songs,  Op.  50,  Turkish 
Tavern-Song,  The  Hunter's  Song,  Sum- 
mer Song,  Gk)ing  by  Water,  Love 
and  Wine,  Travelling  Song.  4  Songs, 
Op.  75,  The  Gay  Traveller,  Serenade, 
Drinking  Song,  Farewell  Dinner.  4 
Songs,  Op.  76,  The  Song  of  the  Brave 
Man,  Rhenish-Wine  Song,  Song  for 
the  Germans  in  Lyons,  Comitat.  4 
Songs,  Op.  120,  Hunting  Song,  Morn- 
ing Greeting,  In  the  South,  Gipsy 
Song,  Compensation  for  Inconstancy, 
Night  Song,  Celebration  of  Founding. 
Ballads  and  Songs  for  two  Voices 
loith  Piamo.  No.  1,  Ich  woUt'  mein 
Lieb'  ergSsse  sich;  2,  Parting  of  Birds 
of  Passage.  Wie  war  so  schonj  3, 
Greeting.    Wohin  ich  geh'  und  schaue; 

4,  Autumnal  Song.    Ach  tvie  so  hold; 

5,  Popular  Song,  Osiih'  ich  auf  der 
Haide  dort;  6,  May  Lily  and  Flower- 
ets. Maigloekchen  lautet  in  dem  Tal; 
3  Songs,  Op.  77 ;  No.  1,  Sunday  Morn- 
ing. Das  ist  der  Tag  des  Berrn;  2, 
Ears  of  a  Corn  Field.  Ein  Leben  war's; 
3,  Song  from  Ruy  Bias.  Wozu  der 
Voglein  Chore;  3  Popular  Songs, 
No.  1,  Wie  kann  ich  froh  und  lustig 
sein?  2,  Evening  Song.  Wenn  ich 
auf  dem  Lager  Uege;  3,  Going  by 
Water.  Ich  stand  gelehnet;  Suleika 
and  Hatem  (from  Op.  8-,  No.  12). 
An  des  hist'gen  Brunnens  Rand; 
Song  from  Ruy  Bias  (with  Strings), 
Score  and  Parts,  Wo«u  der  Voglein 
Chore.  Songs  for  one  Voice  with 
Piano.  12  Songs,  Op.  8  (Gesange) ; 
12  Songs,  Op.  6  (Lieder) ;  6  Songs, 
Op.  19a  (Gesange)  ;  6  Songs,  Op. 
34  (Gesange);  6  Songs,  Op.  47 
(Lieder);  6  Songs,  Op.  57  (Lieder); 
6  Songs,  Op.  71  (Lieder) ;  6  Songs, 
Op.  86  (Gesange)  ;  6  Songs,  Op.  99 
(Gesange) ;  3  Songs  for  a  low  Voice, 
Op.  84  (Gesange) ;  2  Romances  by 
Lord  Byron,  2  Songs  for  a  low  Voice; 
2  Songs;  The  Wreath  of  Flowers ;  The 


Girl's  Lament;  Mariner's  Farting 
Song;    Warning  against  the  Rhine. 

Hendelssohn  Glee  Club  was 
founded  during  the  season  of  1865- 
66  In  New  York  City,  formally  organ- 
ized May  21,  1867,  and  incorporated 
Oct.  21,  1876,  for  the  cultivation  of 
music  and  social  enjoyment,  and  has 
made  a  specialty  of  unaccompanied 
part-songs.  The  trustees  named  in 
the  articles  of  incorporation  were: 
Townsend  Cox,  Thomas  B.  Harden- 
bergh,  Charles  H.  Scott,  Horace  How- 
land,  and  Frederick  Wiebusch.  The 
membership  consisted  of  Active,  As- 
sociate, and  Retired  members.  The 
first  class,  composed  almost  wholly 
of  professional  musicians,  took  part 
in  the  concerts  and  controlled  the 
business  of  the  club.  Additional 
classes  of  life  and  honorary  members 
were  of  later  creation.  Active  mem- 
bers were  chosen  after  an  examina- 
tion in  music.  They  might  become 
associate  members  after  five  years'  ser- 
vice as  singers,  or  retired,  after  having 
sung  ten  or  more  years.  The  club 
possessed  a  well  appointed  house  in 
49th  street,  and  a  hall  which  in  1908 
and  for  many  years  previous  was 
the  scene  of  the  principal  recitals  and 
chamber  concerts  of  the  metropolis. 
The  first  musical  directors  were 
Messrs.  Schripf  and  Albites.  In  1867 
Joseph  Mosenthal  was  elected  to  that 
office  and  served  until  1896,  when  he 
died  suddenly  in  the  clubhouse.  Bom 
in  Cassel,  he  had  been  a  violin  pupil 
of  Spohr,  and  later  became  a  church 
musician.  Arthur  Woodruff,  an 
active  member,  served  as  conductor 
for  the  remainder  of  the  season,  and 
the  late  EDWARD  A.  MACDOWELL 
was  his  successor.  Mr.  MacDowell 
composed  some  of  his  best  songs  for 
this  organization.  On  his  retirement. 
May,  1898,  ARTHUR  MEES  became 
conductor,  retiring  in  1904  in  favor 
of  FRANK  DAMROSCH,  who  was 
conductor  in  1908.  Mosenthal,  R.  L. 
Herman,  and  W.  W.  Gilchrist  are 
among  the  composers  who  have  writ- 
ten for  this  club,  which  ranked  as  the 
most  important  American  male  chorus 
singing  in  English. 

Slendelssohii  Scholarship  was  in- 


SEENESSON 


388 


MERKEL 


stituted  as  a  memorial  to  Felix  Men- 
delssohn by  a  committee  headed  by 
Sir  George  Smart  shortly  after  the 
composer's  death.  Funds  were  raised 
by  concerts  and  donations,  and  in 
1856  Arthur  Sullivan  was  elected  to 
the  scholarship,  which,  during  four 
years,  enabled  him  to  study  at  the 
Royal  Academy  of  Music,  London, 
and  the  Leipsic  Conservatory.  The 
stipend  in  1908  amounted  to  $500  per 
annum.  F.  Corder,  Maude  Valerie 
White,  Eugene  d'Albert  were  among 
the  most  prominent  of  later  scholars. 

Kenesson  (Emile)  made  violins  at 
Rheims  from  1870. 

Henestrels.  Fr.  Minstrels  or 
TROUBADOURS. 

Mengozzi  (Bernardo)  taught  sing- 
ing at  the  Paris  Conservatoire  for 
which  he  wrote  a  Methode  edited 
after  his  death  by  Langl€;  composed 
14  forgotten  operas;  sang  ten.  in 
opera  and  oratorio.  B.  Florence, 
1758;   d.    1800,  Paris. 

IMeno  IVEosso.    It.    With  less  speed. 

Iffiensclienstiiurae.  Ger.  Man's 
voice;    VOX  HUMANA. 

MensTir.  Ger.  "Measure,"  whether 
of  intervals,  pipes,  time,  or  the  size 
of  strings. 

Mensuralgesang.  Ger.  CANTUS 
MENSURABILIS. 

Mensural  IVEusic.  CANTUS  MEN- 
SURABILIS. 

Iffensuralnotenschrift.  Ger.  NO- 
TATION of  measured  time. 

lyCenter  (Joseph.)  played  'cello, 
touring  Europe  with  success  as  virtu- 
oso ;  member  Royal  Munich  Orchestra ; 
pupil  of  P.  Moralt.  B.  Jan.  19,  1808, 
Deutenkofen,  Bavaria;  d.  April  18, 
1856,  Munich.  Sophie  became  court 
pianist  to  the  Emperor  of  Austria; 
pupil  of  Leonhard,  Niest,  Tausig,  and 
Liszt;  taught  St.  Petersburg  Con- 
servatory. B.  July  29,  1848,  Munich; 
daughter  of  JOSEPH;  m.  the  'cellist 
Popper;  divorced,  1886;  add.  Schloss 
Itter,  rjrrol. 

Menuet.     Fr.    MINUET. 

Merbecke.    MARBECK. 

IVEercandante  (Giuseppe  Saverio 
BafEaelle)composed  "Elisa  e  Claudio," 
"  Violenza  e  Costanza,"  "  II  Giura- 
mento,"  and  in  all  nearly  60  operas. 


besides  20  masses,  "  L'Apoteosi  d'Er- 
cule  "  and  other  cantatas ;  two  sym- 
phonies, four  funeral  symphonies; 
became  chapelmaster  of  Novara  Cathe- 
dral, 1833,  and  director  of  the  Naples 
Conservatory,  1840,  in  succession  to 
Zingarelli,  whose  pupil  he  had  been; 
member  of  the  French  Institute;  went 
blind  in  1862  but  continued  to  com- 
pose by  dictation.  B.  Altamura,  near 
Bari,  1795 ;    d.  Dec.  17,  1870,  Naples. 

Mercator  (Michael)  made  virginals 
for  Henry  VIII  and  Cardinal  Wol- 
sey.     B.  1491,  Venice;    d.  1544. 

Mercy, or  Merci  (Louis)  composed 
sets  of  pieces  for  flute  and  bassoon  or 
'cello;  manufactured  flutes-a-beo  on 
which  he  was  a  virtuoso  performer.  B. 
England,  of  French  parentage;  d.  1735. 

Mareauz,  de  (Jean  Nicholas  le 
Froid)  composed  "  La  Ressource  com- 
ique,"  1772;  "  Fabius,"  1793,  and 
other  operas,  the  oratorios  "  Sam- 
son," "Esther";  played  organ  at  the 
Church  of  St.  Jacques  du  Haut  Pas. 
B.  1745,  Paris;  d.  1797.  Jean 
Amadee  published  "  Les  Clavecinistes 
de  1637  a  1790,"  Paris,  1790;  pianist 
and  teacher;  pupil  of  Reicha.  B.  1803, 
Paris;  grandson  of  JEAN  NICHO- 
LAS ;    d.  April  25,  1874,  Rouen. 

Marsennus  (Marin)  wrote  "  Trait* 
de  I'harmonie  universelle,"  1627,  and 
other  valuable  books  on  music;  Min- 
orite priest,  also  known  as  "  Le  Pere 
Mersenne."  B.  Sept.  8,  1588,  Oize, 
Maine;    d.  Italy,  Sept.  1,  1648. 

Meric.  HENRIETTE  CLEMEN- 
TINE   LALANDE. 

Meric,  de  (Madame)  sang  sop.  in 
London  opera,  1832,  appearing  with 
equal  success  in  German,  English, 
French,  and  Italian  rSles. 

Merigni  (Antonia)  sang  con.  in 
opera  under  Handel  in  London, 
1729-38. 

Merk  (Joseph)  composed  20  Exer- 
cises for  'cello,  Op.  11,  Six  Grand 
Studies,  Op.  20,  and  other  music  for 
'cello,  played  'cello  Vienna  Opera  and 
taught  Vienna  Conservatory.  B.  Jan. 
18,  1795,  Vienna;  d.  June  16,  1852, 
Vienna. 

■  Merkel  (Gustav)  taught  in  Dres- 
den Conservatory  and  directed  Sing- 
akademie,   1867-73;    composed  organ 


MERKLIBT 


389 


IffESSAGEB 


fugues  and  sonatas;    played  organ  to  Nicolai's  three-act  opera,  to  book  by 

Dresden     court     and     at     principal  Mosenthal,     based    on    Shakespeare's 

_u       .  ^    ,-,        ,„  „.  comedy,  is  known  in  the  German  ver- 

d.   Oct.    30,    1885,  sion   as   "  Die   Lustigen  Weiben  von 

Windsor."      It    was    first    performed 

Merklin    (Joseph)    built    organs;  Mar.  9,  1849,  in  Berlin,  and  later  in 

organized  the  firm  of  Merklin,  Schutze  Italian,  French,  and  English  versions. 

&  Co.,  which  succeeded  to  the  busi-  ""'  

ness  of  DAUBLAINE  &  CALLINET, 


churches.     B.   Nov.    12,   1827",   Obero 

derwitz.   Saxony; 

Dresden. 


The  overture  is  still  a  favourite  con- 
cert number.    The  adventures  of  FAL- 


B.  Jan.  17,  1819,  Oberhausen,  Baden;    STAFF  have  likewise  been  given  op- 


d.  Nancy,  July  10,  1905, 
Merlin.     Carl  Goldmark's  three-act 


eratic  settings  by  Balfe  and  Verdi. 
Merula  (Tarquino)  composed  mad- 


opera,  to  book  by  Llppiner,  was  first  rigals,  canzoni,  etc.,  with  instrumental 
performed  Nov.  19,  1886,  at  the  Vi-  accompaniment;  organist  or  chapel- 
enna  Hof  Oper.  The  following  year  master  Cathedrals  of  Bergamo,  War- 
it  was  produced  in  America  under  saw,  Cremona,  between  1623  and  1680. 
the  direction  of  Walter  Damrosch.  Martens  (Joseph)  composed  "  De 
Attacked  by  the  Saxons,  King  Arthur  Zwarte  Kapitan "  and  other  operas 
sends  his  trusted  knight  Lancelot  to  in  Flemish  or  French;  conducted 
ask  aid  of  Merlin.  The  great  en-  opera  in  Brussels  and  at  The  Hague; 
chanter,  son  of  the  Prince  of  Hell,  played  violin;  taught  Brussels  Con- 
and  a  virgin  whose  spirit  protects  sei-vatory.  B.  Antwerp,  Feb.  17, 
him  against  such  infernal  paternity,  1834;  d.  July,  1901,  Brussels, 
compels  a  demon  to  blind  the  Saxon  Merulo  (Claudio)  composed  organ 
host,  thus  giving  Arthur  the  victory,  music  still  interesting  as  showing  the 
The  demon  learns  from  the  fairy  transition  from  the  modal  to  the  tonal 
Morgana  that  if  Merlin  falls  in  love  system,  and  recently  republished; 
with  a  mortal  he  vrill  lose  his  power,  played  organ  in  Venice  27  years, 
so  he  sends  the  beautiful  Vivien  to  becoming  first  organist  of  St. 
tempt  him.  Love  so  far  blinds  the  Mark's,  1566;  from  1584  organist  to 
wizard  that  he  fails  to  anticipate  the  the  Duke  of  Parma  by  whom  he  was 
rebellion  of  Prince  Modred  against  knighted;  known  as  "Da  Coreggio." 
Arthur.  Vivien  by  means  of  an  en-  B.  Coreggio,  1533;  d.  May  4,  1604, 
chanted    veil    leaves    Merlin    bound  Parma. 


to    the   locks    in   what   had   been    a 
moment   before    a    charming   garden. 


Mescolanza.     It.     Cacophony. 
Mese.     Gr.     "Middle."     Key  note 


There   Lancelot,   again   come   to   ask    in  GREEK  MUSIC. 


his   help,   finds   him.     Touched   with       Mesochorus. 
pity  for  Arthur,  Merlin  agrees  that       Mesopycni. 


C0RYPH.5BUS. 
Church    MODES    in 


if  the  demon  will  permit  him  to  win  which  the  interval  of  a  semitone  oc- 

another  victory  for  the  stainless  king,  curs  in  the  primary  Tetraohord. 

he  will  resist  the  powers  of  hell  no  Messa.     /*.    Mass. 

longer.    Meantime  Vivien  has  learned  Messa  di  Voce. '    It.    Swelling  and 

from   Morgana   that  the   sacrifice   of  then  diminishing  the  voice  on  a  held 

pure    love    may    yet    redeem    Merlin,  tone. 

and  when  the  enchanter  returns  vie-  Messager  (Andre  Charles  Pros- 

torious    but   mortally    wounded,    and  per)  composed  the  operas "  Veronique," 

the  demon  comes  to   claim  his  own,  Bouffes-Parisiennes,    1898,    and    later 

Vivien   kills   herself.     As   the  baffled  in    London    and    New    York;     "Les 

demon    disappears,    Arthur    and    his  Dragons  de  I'lmperatrice,"  Paris  Va- 

knights  mourn  their  dying  friend.  ri6t4s,     1905,    and    other    successful 

Merrle    England.      Edward    Ger-  operas;    became  joint  director  of  the 

man's  comic  opera,  to  book  by  Basil  Paris    Opfira    Comique    with    Albert 

Hood,   was   first   performed   April   2,  Carre    and   Directeur   General,    1908, 

1902,  at  the  Savoy  Theatre,  London.  Paris  Opfira  with  Broussan.     He  was 

Merry  Wives  of  Windsor.     Otto  "Artistic  Director  "  at  Covent  Garden 


HESSE 


390 


StETASTASIO 


from  1901.  A  pupil  first  at  the  Nicole 
Niedermeyer,  then  of  Saint-Sagns,  Mes- 
sager  won  the  gold  medal  of  the 
Society  dea  Compositeurs,  1876,  with 
a  symphony,  and  the  second  prize  of 
the  City  of  Paris  contest  with  his 
cantata  for  chorus  and  orchestra 
"  Promethfie  enchalnfi."  For  a  time 
he  was  organist  at  the  Church  of  St. 
Sulpice,  then  conductor  in  Brussels, 
and  again  organist  of  Paris  churches, 
but  in  1883  he  began  his  career  as  a 
dramatic  composer  by  completing 
Firmin  Bernicat's  comic  opera 
"  Francois  les  Bas-Bleus."  His  first 
original  three-act  opera,  "  La  Fau- 
vette  du  Temple "  was  well  received 
in  1885  at  the  Folies  Dramatiques. 
"  La  Bernaise,"  at  the  Bouffes  Parisi- 
ennes  in  December  of  the  same  year 
proved  an  immediate  success,  and  en- 
joyed a  long  run  in  London  in  an 
English  version.  Other  successful 
works  were:  "Les  deux  pigeons," 
three-act  ballet;  the  operetta  "Le 
Bourgeois  de  Calais,"  the  fairy  spec- 
tacle "  Isoline,"  the  three-act  oper- 
ettas "  Le  Mari  de  la  Reine,"  "  La  Ba- 
soche,"  "Mme.  Chrysanthfime,"  based 
on  Pierre  Loti's  novel,  for  the  open- 
ing of  the  Theatre  Lyrique;  the  four- 
act  ballet  "  Scaramouche,"  the  op- 
erettas "  Miss  Dollar,"  "  Le  Chevalier 
d'Harmental,"  "  Les  Petites  Michus," 
and  the  ballets  "  Le  Chevalier  aux 
Fleurs,"  "  Une  Aventure  de  la  Gui- 
mart."  B.  Deo.  30,  1853,  Montlugon; 
add.    Paris. 

Hesse.     Fr.  and  Gr.    MASS. 

Messiah.  George  Frederick  Han- 
del's oratorio,  to  book  by  Charles  Jen- 
nens,  selected  from  the  Bible,  was 
begun  Aug.  22,  1741,  and  completed 
in  24  days.  The  first  performance 
took  place  April  13,  1742,  in  Dublin, 
for  the  benefit  of  the  Society  for 
relieving  Prisoners,  The  Charitable 
Infirmary,  and  Mercer's  Hospital. 
Much  of  the  work  was  rewritten  be- 
fore its  first  publication,  1767.  Mo- 
zart prepared  additional  accompani- 
ments for  the  score,  and  in  1885 
still  further  additions  to  the  score 
by  Robert  Franz  were  heard  in  the 
performance  at  the  Birmingham  Fes- 
tival.     The    celebrated    "Hallelujah 


Chorus "  has  caused  two  others  of 
the  same  title  by  Handel  to  be  forgot- 
ten, the  "  Glory  to  God,"  the  "Amen," 
and  other  numbers  have  been  made 
familiar  in  English-speaking  coun- 
tries by  more  frequent  performances 
of  this  oratorio  than  of  any  other 
work  of  its  class,  and  to  the  tremen- 
dous and  lasting  success  of  the  Mes- 
siah the  poverty  of  English  dramatic 
music  may  be  partly  attributed. 

Messidor.  Alfred  Bruneau's  four- 
act  lyric  drama,  to  book  by  Emile 
Zola,  was  first  performed  Feb.  19, 
1897,  at  the  Paris  Op6ra. 

Hesto.     It.    Melancholy. 

Hestoso.    It.    Sad. 

Mestriuo  (Niccolo)  composed  12 
concertos  for  violin  and  orchestra, 
began  life  as  a  wandering  fiddler, 
served  for  a  time  in  the  Esterhazy 
orchestra,  was  imprisoned,  and  so 
perfected  himself  in  jail  as  a  violinist 
that  he  became  soloist  at  the  Paris 
Concerts  Spirituel  and  led  at  the 
Italian  Opera.  B.  1748,  Milan;  d. 
1790,  Paris. 

Mesure.    Fr.    Measure,  time. 

Metallo.  It.  "Metal,"  as  "bel 
metallo  di  voce";  ringing  quality  of 
voice. 

Metamorphosis.  Variation  of  a 
theme  of  subject,  leit  motif  or  id£e 
fixe. 

Metastasio  (Fietro  Antonio  So- 
meuico  Bonaventura)  wrote  libretti 
used  by  Porpora,  Jommelli,  Hasse, 
Piccini,  Gluck,  Mozart,  and  Meyer- 
beer and  many  other  composers,  his 
"Didone  abbandonata ''  alone  having 
served  nearly  40  composers,  beginning 
with  Sarri,  1724,  and  ending  with 
Reissiger,  1823.  Mozart's  "  Clemenza 
di  Tito,"  to  the  libretto  which  six 
other  composers  had  already  set,  is 
the  only  book  of  this  famous  poet 
still  heard  on  the  operatic  stage,  but 
"Sifaee,"  "  Siroe,"  "  Catone  in 
Utica,"  "Ezio,"  "Semiramide,"  "Ales- 
sandro  'nell  Indie,"  "Artaserse,"  "De- 
metrio,"  "Adriano  in  Siria,"  "Issi- 
pile,"  "  Olimpiade,"  "  Demofoonte," 
"Achille  in  Soiro,"  "  Giro  rieonosci- 
uto,"  "  Temistoele,"  "Zonobia,"  "An- 
tigono,"  "  Ipermestra,"  "Attilio  Eeg- 
olo,"     "II     Re     Pastore,"     "L'Eroe 


KETEFESSEIi 


391 


]!lIETBOFOLITAN 


Cinese,"  "L'isola  disabitata,"  Ni- 
tetti."  "  Aleide  al  Bivio,"  "  II  Trionfo 
di  Clelia,"  "Tetide,"  "Egeria,"  "Ro- 
molo  ed  Brsilia,"  "  II  Parnasso  con- 
fuso,"  "II  Trionfo  d'amore,"  "Par- 
tenope,"  and  "  II  Kuggiero  "  were  all 
admired  for  their  poetic  qualities  and 
set  by  famous  musicians.  Son  of  a 
soldier  named  Trapassi,  the  name 
Metastasio  was  adopted  to  please  his 
patron  Gravina,  for  whom  he  trans- 
lated the  Iliad  into  Italian  verse.  In 
1730  Metastasio  became  poet  laureate 
to  Emperor  Charles  VI,  and  thence- 
forth dwelt  in  Vienna.  Besides  his 
occasional  poems  and  dramatic  works, 
he  wrote  cantatas,  scenas,  oratorios, 
songs,  and  sonnets,  and  played  harpsi- 
chord and  composed.  B.  Jan.  3,  1698, 
Rome;    d.  April  12,  1782,  Vienna. 

SEethf  essel  (Albert  Oottliel))  com- 
posed the  part-songs  "Krieger's  Ab- 
schied,"  "  Rheinweinlied,"  "Deut- 
scher  Ehrenpreia,"  the  opera  "  Der 
Prinz  von  Basra,"  the  oratorio  "  Das 
befreite  Jerusalem";  became  chamber 
musician  at  Rudolstadt,  1810,  and 
court  chapelmaster  at  Bnmswick, 
1832-42.  B.  Stadt  Ilm,  Thuringia, 
Oct.  6,  1785;    d.  Mar.  23,  1869. 

Methode.  Fr.  "Method";  instruc- 
tion book;    style  of  teaching. 

Hetre.  Between  the  syllables  and 
feet  of  poetry  and  the  beats  and  bars 
of  music  a  certain  resemblance  may  be 
found,  and  it  is  possible  to  express 
the  rhythm  of  poetry  in  musical  nota- 
tion, and  to  suggest  musical  rhythm 
by  means  of  the  conventional  signs  for 
long,  short,  and  common  syllables. 
But  In  poetry  metre  depends  upon 
quantity  alone,  and  in  music  upon 
emphasis  or  stress,  and  hence  the 
nomenclature  based  upon  the  length 
of  syllables  in  classic  verse  has  little 
value  in  music,  despite  the  fact  that 
it  is  occasionally  used.  The  modern 
tendency  in  poetry  and  music  alike 
has  been  to  throw  off  the  shackles 
and  to  invent  new  forms  both  of  metre 
and  of  rhythm.  Various  combinations 
of  syllables  and  feet  are,  however, 
described  under  their  proper  heads. 

Metrometer.    METRONOME. 

Ketronome.  An  instrument  which 
enables  the  composer  to  indicate  the 


speed  at  which  his  works  should  be 
performed.  It  consists  of  a  pendulum 
kept  in  motion  by  clockwork,  and  hav- 
ing a  movable  slide  by  which  the  num- 
ber of  vibrations  per  minute  may  be 
governed.  Thus,  when  the  slide  is 
moved  to  60,  the  pendulum  beats  60 
times  per  minute,  and  when  the  slide 
is  at  100,  the  pendulum  beats  100 
times  per  minute.  The  abbreviation 
M.  M.  followed  by  a  musical  note  and 
a  number  indicates  that  with  the 
slider  at  the  number  given  the  note 
has  the  value  of  a  single  beat.  The 
instrument  takes  its  name  from 
MAELZEL,  who  was  first  to  manufac- 
ture it.  Winkel  of  Amsterdam  was 
the  inventor.  As  now  perfected,  the 
instrument  has  a  bell  attachment 
which  rings  the  beats  of  the  bar  when 
that  is  desired. 

Metropolitan  Opera  House,  New 
York,  was  opened  Oct.  22,  1883,  un- 
der the  mana^ment  of  HENRY  E. 
ABBEY,  who  had  MAtTRICE  GRAU 
associated  with  him,  in  opposition  to 
the  lyric  productions  at  the  ACAD- 
EMY OF  MUSIC.  After  an  operatic 
war  lasting  two  seasons,  the  Metro- 
politan remained  alone  in  the  field, 
and  was  thereafter  without  opposi- 
tion in  the  production  of  polyglot 
opera  in  America  until  the  opening 
of  the  MANHATTAN  OPERA 
HOUSE.  The  building  occupies  the 
entire  block  bounded  by  Broadway, 
7th  avenue,  39th  and  40th  streets, 
possesses  one  of  the  largest  stages  in 
America,  which  was  thoroughly  mod- 
ernized by  Conried,  and  has  seats  for 
3700.  It  was  built  and  owned  by  a 
corporation  of  wealthy  men  called  the 
Metropolitan  Opera  House  Real  Es- 
tate Company,  who  retained  for  them- 
selves the  first  tier  of  boxes  (popu- 
larly called  "  the  diamond  horse- 
shoe "),  and  leased  the  management  to 
an  impresario.  On  the  financial  fail- 
ure of  the  Abbey  management,  DR. 
LEOPOLD  DAMROSCH  was  placed 
in  charge,  and  from  Italian  opera  a 
preference  was  thereafter  shown  for 
German  works,  especially  those  of 
Wagner.  In  1891  the  house  passed 
into  the  management  of  Abbey, 
Schoeffel,  and  Grau,  and  on  their  fail- 


METTE 


392 


MEYERBEER 


ure  was  taken  over  by  MAURICE 
GRAU,  who  was  the  first  to  make 
opera  a  source  of  profit  in  America. 
On  Grau's  retirement,  HEINRICH 
VON  CONRIED  became  impresario, 
1903,  retiring  in  1908  in  favour  of 
Messrs.  GATTI-CASAZZA  and  DIP- 
PEL,  who  planned  many  improve- 
ments for  the  following  season.  As 
noted  elsewhere,  the  first  opera  house 
in  New  York  was  that  of  Palma, 
earlier  musical  performances  having 
taken  place  at  the  Park  Theatre  or  at 
Ca,stle  Garden,  now  the  Aquarium. 
Palma's  gave  way  in  turn  to  the 
Astor  Plaxje  Opera  House,  opened 
1847,  which  in  turn  was  replaced  by 
the  Academy  of  Music. 

Mette.     Ger.    MATINS. 

Metzler  (Valentine)  founded  the 
London  house  for  manufacturing  and 
selling  instruments  and  publishing 
music  known  as  Metzler  &  Co.,  1790. 
B.  Bingen-on-Rhine ;  d.  about  1840, 
London.  George  Richard  and  George 
Thomas,  son  and  grandson  of  Valen- 
tine, continued  the  business  until 
1879,  when  it  passed  into  the  hands 
of  Frank  Chappell.  Trustees  of  Chap- 
pell's  estate  converted  the  control  into 
a  corporation  in  1893. 

Metzilloth.  Beh.  Cymbals.  The 
word  also  occurs  as  Metzillthaim  and 
Tzeitzelim. 

Mexican  ITatlonal  Hymn.  Other- 
wise "  El  Himno  Nacional,"  was  first 
publicly  performed  in  the  City  of 
Mexico,  Sept.  11,  1854,  in  connection 
with  the  Independence  Day  celebration. 
In  December,  1853,  General  Santa 
Anna,  then  President  of  the  Republic, 
issued  a  decree  ofiFering  a  prize  for  a 
"  truly  patriotic "  poem  to  be  ap- 
proved by  the  Federal  Government. 
26  poems  were  submitted  in  compe- 
tition, and  that  of  Don  Francisco  Gon- 
zalez y  Bocanegra,  consisting  of  ten 
verses  of  eight  lines  each  and  a  chorus, 
received  the  award.  Feb.  5,  1854,  a 
decree  was  issued  announcing  a  compe- 
tition for  the  best  setting  of  Bocane- 
gra's  _  hymn.  16  compositions  were 
submitted,  the  prize  being  awarded 
thatof  Don  Jaime  NUNO,  a  Spanish 
music  master  settled  in  Mexico. 

Mexico,  City  of,  was  the  seat  of 


the  Mexican  National  Conservatory, 
which  taught  music  in  all  branches, 
and  provided  an  excellent  series  of 
concerts,  lately  directed  by  Ricardo 
CASTRO.  Military  bands  of  the  re- 
public have  acquired  an  international 
reputation,  and  the  Conservatory  has 
been  the  training  school  of  a  majority 
of  the  bandmasters.  The  Opera  has 
been  a  notable  feature  of  the  season  in 
the  Mexican  capital  for  three  genera- 
tions, and  in  its  expenditures  in  sup- 
port of  music  the  city  in  1908  ranked 
with  Buenos  Ayres  and  Rio  de  Janeiro. 

Meyer  (Gregor)  composed  church 
music  in  polyphonic  style  highly  com- 
mended by  Glareanus;  played  organ 
at  Solothurm  Cathedral,  16th  century. 

Meyer  (Gustav)  composed  ballets, 
farces;  conducted  Leipsic  Thteatre, 
1895;  pupil  Leipsic  Conservatory. 
B.   June   14,    1859;    add.  Leipsic. 

Meyer-Helmund  (Erik)  composed 
popular  songs,  the  operas  "  Margitta," 
"Der  Liebeskampf,"  the  ballets  "Rube- 
zahl,"  and  the  burlesque  "  Trischla  " ; 
sang  in  concerts;  pupil  of  Kiel  and 
Stookhausen.  B.  April  25,  1861,  St. 
Petersburg;    add.  St.  Petersburg. 

Meyerbeer  (Giacomo)  composed 
the  highly  successful  operas,  "ROB- 
ERT LE  DIABLE,"  "Les  HUGUE- 
NOTS," "Le  PROPHETE,"  "DI- 
NORAH,"  "L'AFRICAINE,"  "united 
to  the  flowing  melody  of  the  Italians 
and  the  solid  harmony  of  the  Ger- 
mans the  pathetic  declamation  and 
the  varied  piquant  rhythm  of  the 
French,"  as  his  biographer  Mendel 
expressed  it.  Originally  known  as 
Jakob  Liebmann  Beer,  and  son  of 
the  wealthy  banker,  Herz  Beer,  he 
assumed  the  name  Meyer  in  com- 
pliment to  a  rich  relative  whose  heir 
he  became.  In  childhood  a  pupil  of 
Lauska  and  later  of  dementi,  he 
played  the  Mozart  D  minor  concerto 
in  public  at  the  age  of  seven,  and  was 
classed  among  the  best  of  Berlin  pi- 
anists at  nine.  Then  he  studied  with 
Zelter  and  B.  A.  Weber,  by  whose 
means  he  became  known  to  Abbfi  Vog- 
ler,  with  whom  he  lived  at  Darmstadt 
for  two  years  in  the  most  intimate 
relations,  sharing  the  lessons  of  C. 
M.  von  Weber,  gaining  in  power  as  a 


MEYEBBEEB 


393 


HIEEYEBBEEB 


pianist,  and  composing  his  four-part 
"Sacred  Songs  of  Klopstock,"  the 
oratorio  "God  and  Nature,"  his  first 
opera  "  Jepthah's  Vow,"  and  receiv- 
ing an  appointment  as  court  com- 
poser to  the  Grand  Duke.  His  opera, 
produced  in  1813,  failed  in  Munich, 
but  "Abimilek,"  produced  the  same 
year  at  Stuttgart  was  so  well  re- 
ceived that  the  manager  of  the  Vienna 
Karnthnerthor  Theatre  undertook  to 
give  it.  Meyerbeer  visited  the  Aus- 
trian capital  to  assist  at  rehearsals. 
Though  the  opera  was  soon  with- 
drawn, the  young  composer  was  fav- 
ourably received  as  a  pianist.  Mos- 
cheles  declared  few  virtuosi  could 
rival  him  if  he  chose  to  make  a  spe- 
cialty of  his  instrument.  Acting  on 
the  advice  of  Salieri,  Meyerbeer  pre- 
ferred to  visit  Italy  in  order  to  learn 
how  to  write  for  the  voice.  "  Romilda 
e  Costanza,"  Padua,  1818;  "Semi- 
ramide  riconosciuta,"  Turin,  1819; 
"  Eduardo  e  Cristina "  and  "  Emma 
di  Resburgo,"  Venice,  1820,  proved 
with  what  facility  he  could  adapt 
himself  to  Italian  taste  and  tempera- 
ment, for  they  were  well  received, 
despite  the  overwhelming  popularity 
of  Rossini.  "Margherita  d'Anjou," 
"L'Esule  di  Granata,"  and  "  Croci- 
ato "  complete  the  works  of  this 
period.  He  began  an  opera  "Alman- 
sor,"  but  it  was  never  finished.  "  Das 
Brandenberger  Thor,"  a  three-act 
German  work,  was  offered  the  Berlin 
Opera  in  1823,  but  did  not  receive  a 
hearings  Von  Weber,  however,  had 
produced  his  "Abimilek  or  The  Two 
Califfs "  at  Prague,  and  later  at 
Dresden,  and  he  urged  his  old  fel- 
low student  to  devote  himself  to 
German  music,  and  Meyerbeer  seems 
to  have  promised.  The  success  of 
"  Crociato  "  resulted  in  a  Paris  pro- 
duction in  1826,  and  Meyerbeer  was 
thereafter  French  in  sympathy  and 
spirit.  He  went  to  Berlin  to  settle 
his  father's  estate,  then  devoted  his 
leisure  to  the  study  of  the  French 
classics,  and  returning  to  Paris  in 
1831,  took  with  him  the  score  of 
"Robert."  It  is  said  that  he  had  to 
fee  Veron  liberally  to  have  this  opera 
produced,  but  it  proved  the  greatest 


financial  success  of  the  decade.  His 
next  work,  "  The  Huguenots,"  has  en- 
joyed a  still  more  lasting  popularity. 
Recalled  to  Berlin  as  General  Music 
Director  to  Friedrioh  Wilhelm  IV, 
Meyerbeer  there  produced  "  Das  Feld- 
lager  in  Schlesien,"  the  charm  of 
Jenny  Lind's  voice  establishing  it  in 
favour.  While  holding  his  post  at 
Berlin  Meyerbeer  produced  the  "  Eu« 
ryanthe "  of  his  friend  von  Weber, 
then  deceased,  and  gave  a,  careful 
production  of  "Rienzi,"  a  favour 
which  Wagner  returned  by  denouncing 
him  as  a  "  Jew  banker  to  whom  it 
occurred  to  compose  operas  "  —  not, 
however,  until  he  had  prevailed  on 
Meyerbeer  to  also  produce  the  "  Fly- 
ing Dutchman."  In  1849  Meyerbeer 
returned  to  Paris  for  the  performance 
of  his  Prophet,  and  subsequently  be- 
gan the  composition  of  "  L'Etoile  du 
Nord,"  which  was  given  in  1854  at 
the  Op6ra  Comique.  "  Dinorah  "  was 
produced  at  the  same  house  in  1859. 
"  L'Africaine,"  which  the  composer 
had  begun  in  1838,  had  occasioned 
many  altercations  with  Scribe,  the 
librettist.  Meyerbeer  exchanged  this 
libretto  for  the  book  of  "he  Pro- 
phete,"  but  again  took  it  up  in  1863. 
Though  rehearsed  by  Meyerbeer,  this 
opera  was  not  performed  until  afte; 
his  death,  which  occurred  at  Paris 
following  his  return  from  England, 
where  he  had  represented  German 
music  at  the  London  Exhibition  with 
his  "  Overture  in  the  form  of  a 
March."  Other  works  in  addition  to 
the  operas  named  were  incidental 
music  to  the  tragedy  "  Struensee," 
written  by  his  brother  Michael;  cho- 
ruses for  the  "  Eumenides  "  of  Aeschy- 
lus, the  festival  play  "  Die  Hoffest  von 
Ferrara  " ;  "  Le  Genie  de  Musique  a  la 
Tombe  de  Beethoven,"  for  soli  and 
chorus ;  the  cantata  "  Maria  und  ihr 
Genius,"  soli  and  chorus  (for  the  silver 
wedding  of  Prince  and  Princess  Charles 
of  Prussia),  the  eight-part  serenade 
"  Braute  geleite  aus  der  Heimrath  " ; 
Ode  to  Rauch  the  sculptor,  soli,  cho- 
rus, and  orchestra;  Festal  Hymn 
for  the  silver  wedding  of  the  King 
of  Prussia,  soli  and  chorus;  cantata 
for    the    unveiling    of    Guttenberg's 


IIEZZA 


394 


IIIGNON 


statue  at  Mainz,  four  voices ;  "  March 
of  the  Bavarian  Archers,"  cantata 
for  four  voices  and  male  chorus  with 
brass  instruments  in  accompaniment; 
"  Freundschaft,"  male  quartet;  Cor- 
onation March,  1863;  Grand  March 
for  the  Schiller  Festival  of  1859; 
songs,  church  music,  including  Psalm 
xc,  a  Stabat  Mater,  Miserere,  Te  Deum. 
B.  Sept.  5,  1791,  Berlin;  d.  May  2, 
1864,  Paris.  See  biographies  by  Men- 
del, Weber,  A.  de  Lasalle,  Pougin,  and 
Blaze  de  Bury. 

lyiezza  or  Itlezzo.  It.  "  Half,"  as 
Bravura,  semi-bravura  style ; 
Manica,  half  shift;  Piano,  rather 
soft;  Soprano,  voice  midway  between 
soprano  and  contralto;  Tenor,  voice 
ranging  midway  between  tenor  and 
baritone;  Tuono,  half-tone;  Voce, 
half  voice  or  moderate  tone. 

HL.  F.  Abbreviation  for  Mezzo 
Forte  or  moderately  loud. 

M.  Q.  Fr.  Abbreviation  for  Main 
Gauche  or  Left  Hand. 

Mi.  The  note  E;  in  Solmisation 
the    leading    note. 

Mi  Bemol.     Fr.    The  note  E  flat. 

Mi  Bemol  Majeur.  Fr.  Key  of  E 
flat  major. 

Mi  Bemol  Mineur.  Fr.  Key  of  E 
flat  minor. 

t  Mi  Contra  Fa  est  diabolus  in  mu- 
sica.  "Mi  against  fa  is  the  devil  in 
music."  Formula  of  the  contrapun- 
tists warning  against  the  use  of  the 
TRITONE. 

Michael  (Bogier)  composed  52 
choral  bearbeitungen  published  in  the 
Dresden  Gesangbuch,  1593;  chapel- 
master  to  the  court  of  Dresden,  1587- 
1619.  Tobias  composed  sacred  music 
in  five-part  and  secular  pieces  for 
voice  and  instrument  in  concerto  style, 
published  as  "  Musikalischer  Seelen- 
lust,"  1634-35;  became  cantor  of  the 
Leipsic  Thomaskirche,  1631.  B.  1592, 
Dresden;  son  of  ROGIER;  d.  1657, 
Leipsic. 

Micheli(Itomano)composed  canons, 
madrigals,  church  music,  wrote  con- 
troversial works  on  music ;  priest  and 
church  chapelmaster  in  Modena  and 
Home.  B.  about  1575,  Rome;  d.  af- 
ter 1659,  Rome. 

Micrologus.     Two  celebrated  medi- 


aeval books  on  music  bear  this  title, 
which  means  ( Gr. )  "  having  regard 
to  small  things."  That  of  GUIDO 
D'ARBZZO  was  written  about  1024, 
and  gives  the  theory  of  music  as  then 
understood.  In  1904  a  new  edition  of 
this  work  was  prepared  by  Dom  Am. 
brogio  Amelli,  Order  of  St.  Benedict, 
Prior  of  Monte  Cassino.  The  "Mu- 
sice  Active  Microlog^s "  of  Andreas 
Ornithoparcus  appeared  in  Leipsic, 
1517.  It  is  a  reprint  of  the  Latin 
lectures  on  music  delivered  by  the 
author  at  various  German  universi- 
ties. An  Eng.  trans,  by  John  Dowland 
was  published  in  London,   1609. 

Microphone.  An  instrument  for 
magnifying  sound. 

Midas.  Popular  English  ballad 
opera  was  first  performed  at  Covent 
Garden,  London,  1764.  A  revised 
edition  of  the  music  selected  from 
the  songs  of  the  day  was  published  by 
Birchall,  1802.  The  book  was  by 
Kane  O'Hara. 

Middle  C.  The  note  c'  which  occu- 
pies the  first  leger  line  below  the 
treble  staff,  the  first  leger  line  above 
the  bass  sta£f,  and  is  indicated  by 
the  C  clef. 

Mi  Diese.     Fr.    The  note  E  sharp. 

Midland  Institute,  of  Birming- 
ham, Eng.,  includes  a  Music  School 
having  in  1908  nearly  1000  students 
in  its  various  departments.  Granville 
Bantock  became  the  first  principal  in 
1900,  and  in  1903  Sir  Edward  Elgar 
became  a  Visitor  and  conducted  the 
students'  concerts,  which  were  largely 
devoted  to  classic  works  of  the  first 
order.  The  school  is  an  outgrowth  of 
the  Birmingham  and  Midland  Insti- 
tute, incorporated  in  1854. 

Midsummer  Night's  Dream.  Fe- 
lix Mendelssohn's  overture  was  com- 
posed in  1826,  and  first  performed 
the  following  year  in  Stettin.  The 
Suite,  which  contains  the  famous 
Wedding  March,  and  in  all  12  num- 
bers, was  first  performed  Oct.  14,  1843, 
at  the  New  Palace,  Potsdam,  having 
been  composed  at  the  request  of  the 
King  of  Prussia. 

Mig^non.  Ambroise  Thomas's  three- 
act  opera,  to  book  by  Carr^  and  Bar- 
bier,   was   first   performed   Nov.   17, 


MIGNON  395  MILAN 

1866,  at  the  Paris  Opgra  Comique.  conosci  il  bel  suol"  ("Kennst  du  das 
It  18  based  on  Goethe's  "Wilhelm  Land"),  Mignon;  "Leggiadre  rondi- 
uf*^u:  ..  "Mignon,"  a  child  of  nelle "  (Swallow  Song),  Mignon  and 
noble  birth  stolen  by  the  Gypsies,  is  Lotario;  Act.  II:  "A  maraviglia!  " 
ordered  to  perform  the  egg  dance  in  Filina;  "Son  io  che  mi  speochio?" 
the  court  of  a  German  inn.  Worn  Mignon;  "Addio  Mignon,"  Wilhelm; 
out  with  her  journey,  she  refuses.  "  Sofferto  hai  tu!"  Lotario  and 
Giarno,  leader  of  the  Gypsies,  is  Mignon;  "Io  son  Titania,"  Filina; 
about  to  beat  her,  when  Lotario,  Act  III :«  Ah !  non  credea,"  Wilhelm ; 
harper  to  a  band  of  strolling  players,  "Ah!  son  felice,"  Wilhelm  and  Mignon. 
interferes.  The  Gypsy  then  turns  on  Mikado.  Sir  Arthur  Sullivan's 
him,  but  Wilhelm  Meister  ("Gug-  comic  opera,  to  book  by  W.  S.  Gilbert, 
lielmo"),  who  has  joined  the  players  was  first  performed  Mar.  14,  1885,  at 
because  of  his  love  for  Filina,  their  the  London  Savoy  Theatre,  and 
leading  lady,  interferes,  rescuing  both  speedily  became  popular  throughout 
the  old  man  and  the  child.  To  save  the  English-speaking  world.  The  mu- 
Mignon  from  further  persecution,  Fi-  sic  is  charming,  the  book  capital  fun, 
lina  gives  money  to  the  Gypsies,  and  but  although  the  piece  is  Japanese 
Mignon,  dressed  as  a  page,  becomes  in  name  only,  its  performance  was 
Wilhelm's  attendant.  The  child  loves  forbidden  by  the  Censor  in  1907  in 
Wilhelm,  who  is  engrossed  by  Filina.  Great  Britain,  on  the  ground  that  it 
Jealous  of  the  actress,  Mignon  de-  might  wound  the  sensibilities  of  the 
termines  to  throw  herself  in  the  lake  Japanese  people, 
near  a  castle  at  which  the  players  are  Milan  has  been  one  of  the  chief 
received,  but  the  sweet  tones  of  Lo-  centres  of  Italian  music  since  the  16th 
tario's  harp  appeal  to  her  better  na-  century.  In  April,  1908,  the  100th 
ture.  She  tells  her  grief  to  Lotario,  anniversary  of  the  establishment  of 
and  expresses  the  wish  that  the  castle  the  great  conservatory  now  called 
in  which  the  beautiful  actress  is  the  "  Real  Conservatorio  di  Musica 
playing  may  be  struck  by  lightning.  Giuseppe  Verdi  Milano  "  was  cele- 
At  last  the  play  is  over.  Filina,  brated  by  a  great  music  festival  in 
coming  from  the  castle,  sends  Mignon  which  the  friends  and  alumni  of  the 
back  for  some  flowers  which  she  has  institution  were  welcomed  from  all 
forgotten.  But  Lotario,  half  mad  parts  of  the  world.  The  management 
with  his  own  grief,  has  flred  the  of  the  celebrated  opera  house  "  Teatro 
castle,  and  as  the  flames  burst  out,  alia  SCALA,"  of  the  Societa.  de  Quar- 
Wilhelm  rushes  into  the  burning  tetto,  the  Societa.  dei  Concerti  Sin- 
building  and  rescues  her.  The  last  fonici,  the  Society  di  Amici  della 
act  opens  in  Lotario's  house  in  Italy,  Musica,  contributed  to  the  success 
whither  Mignon  has  been  taken  to  of  this  notable  occasion  by  an  ap- 
recover  from  the  illness  attendant  propriate  series  of  representations,  a 
upon  the  shock.  In  her  delirium  she  feature  of  which  was  the  perform- 
reveals  her  love  for  Wilhelm.  Then  ance  of  a  theme  with  variations  for 
it  is  discovered  that  Mignon  is  really  orchestra,  and  a  four-part  Psalm  a 
Sperata,  the  long  lost  daughter  of  capella  for  which  Edoardo  awarded 
Lotario,  Marquis  of  Cypriani,  'who  prizes  of  3000  and  2000  lire.  The 
became  a  harper  in  order  that  he  committee  in  charge  consisted  of 
might  search  for  her.  Filina  re-  Arrigo  Boito,  Giuseppe  Gallignani, 
nounces  Wilhelm  in  favour  of  Freder-  Umberto  Giordano,  Giaeomo  Oreflce, 
ick,  another  lover,  and  Wilhelm  and  Giaeomo  Puccini,  Giulio  Eicordi, 
Mignon  are  united.  The  original  cast  Edoardo  Sonzogno,  Arturo  Toscanini. 
included :  Mignon,  Galli-Marie,  mez.  Napoleon  ordered  the  establishment  of 
sop.;  Wilhelm,  Aehard,  ten.;  Lser-  the  Conservatory  in  1807,  but  it  was 
tea,  Conders,  bar.;  Lotario,  Battaille,  not  until  the  following  year  that  the 
bass;  Filina,  Cabel,  sop.  The  princi-  viceroy,  Eugene  Beauharnais,  found  a 
pal  musical  numbers  are :  Act  I :  "Non    home   for  it   in  the   old  convent   at- 


MILANOLLO 


396 


KILDENBEBa 


tached  to  the  Church  of  Santa  Maria 
della  Passione.  The  regulations  were 
drawn  up  by  Gian  Simone  Mayr,  and 
the  first  president  was  Bonifazio 
Asioli,  the  faculty  consisting  of 
Federigi,  Secchi,  Ray,  Piantanida, 
Negri,  Rolla,  Sturioni,  Andredi, 
Adami,  Belloli,  Buccinelli.  During 
the  occupation  of  Milan  by  the  Aus- 
trians,  1848-49,  troops  were  quartered 
in  the  Conservatory  buildings,  but 
the  professors  gave  lessons  at  their 
homes,  preserving  the  continuity  of 
instruction.  The  following  year,  when 
the  Conservatory  reopened,  the 
courses  were  enlarged  by  President 
Lauro  Rossi.  Since  that  time  the 
Conservatory  has  given  complete  mus- 
ical and  literary  education.  In  1908 
the  faculty  consisted  of  Giuseppe  Gal- 
lignani,  president;  Vincenzo  Ferroni, 
Gietano  Coronado,  composition;  Mi- 
ohele  Saladino,  Luigi  Mapelli,  coun- 
terpoint and  fugue;  Amintore  Galli, 
Carlo  Gatti,  harmony;  Alberto  Le- 
oni,  Vincenzo  Pintorno,  Paolina  Va- 
neri  Filippi,  singing;  Vincenzo 
Appiani,  Giuseppe  Frugatta,  piano; 
Luigi  Maurizio  Tedeschi,  harp;  Luigi 
Mapelli,  organ;  Gerolamo  De  Angelis, 
Marco  Anzoletti,  Enrico  Polo,  violin 
and  viola;  Giuseppe  Magarini,  'cello; 
Italo  Caimmi,  doublebass,  Antonio 
Zamperoni,  flute,  Alfredo  Carlotti, 
oboe;  Romeo  Orsi,  clarinet;  Antonio 
Torriani,  bassoon;  Carlo  Fontana, 
horn;  Serse  Peretti,  trumpet  and 
trombone;  Ettore  Pozzoli,  theory 
and  solfeggio;  Guglielmo  Andreoli, 
assistant,  piano;  Paolo  Maggi,  as- 
sistant, harmony;  Amintore  Galli, 
history  and  liturgy;  Lodovico  Corio, 
poetic  and  dramatic  literature;  Gin- 
evra  Povoni,  declamation  and  dra- 
matic art;  Eugenio  De'  Guarinoni, 
secretary  of  the  faculty. 

Kilanollo  (Teresa)  became  one  of 
the  most  noted  of  women  violinists. 
Hearing  the  instrument  played  in 
church  at  four,  she  forced  her  father 
to  give  her  one,  and  after  a  few  les- 
sons from  G.  Ferrero  developed  such 
skill  that  at  six  she  was  taken  to 
Turin  and  placed  under  Gebbaro  and 
Mora,  played  in  concerts  with  success, 
and   at   ten   appeared   at   the   Op€ra 


Comique  concerts  in  Paris.  She  thea 
toured  Holland  with  Lafont,  and  sub- 
sequently throughout  Europe;  retir- 
ing after  her  marriage  to  Parmen- 
tier,  a  French  military  engineer,  only 
appearing  thereafter  at  a  series  of 
highly  successful  charity  concerts. 
She  composed  an  Ave  Maria  for  male 
chorus  and  some  pieces  for  violin.  B. 
Aug.  28,  1827,  Savigliano,  near  Turin; 
d.  Paris,  Oct.  25,  1904.  Maria  played 
violin,  accompanying  her  sister  TER- 
ESA on  her  many  tours.  B.  July 
19,  1832,  Savigliano;  d.  Oct.  21,  1848, 
Paris. 

Milde,  von  (Hans  Feodor)  created 
the  role  of  Telramvmd  at  Weimar; 
pupil  of  Hauser  and  Manuel  Garcia. 
B.  April  13,  1821,  Petronek,  near  Vi- 
enna. Bosa  Agthe  created  the  r51e 
of  Elsa  at  Weimar,  where  she  sang 
with  her  husband  HAN'S  FEODOR  for 
many  years.  B.  June  2S,  1827, 
Weimar.  Kudolph  sang  bar.  at  the 
Weimar  opera,  debut  1883,  Metro- 
politan Opera  House,  New  York, 
1886-88;  taught  Stern  Conservatory, 
Berlin,  until  1894,  when  he  returned 
to  the  operatic  stage.  B.  Nov.  29, 
1859,  Weimar;  son  of  HANS  FEO- 
DOR;   add.  Berlin. 

Mildenberg  (Albert)  composed 
"  Michaelo,"  accepted  for  perform- 
ance in  the  Vienna  Royal  Opera,  and 
also  for  Munich,  Prague,  Salzburg 
and  Budapest.  This  opera,  composed 
in  1906,  was  based  on  the  Life  of 
Michelangelo,  and  was  the  first  work 
of  its  kind  by  a  native  of  the  United 
States  accepted  for  performance  in 
Europe.  An  earlier  opera,  "  Rafaelo," 
had  not  been  disposed  of  in  1908,  but 
in  the  fall  of  that  year  Mildenberg 
had  undertaken  an  opera  for  the 
Mozart  Theatre,  Vienna,  in  collabora- 
tion with  Dr.  WuUner.  Pupil  of  Paul 
Hermann,  and  later  of  Rafael  Joseffy, 
Mildenberg  made  hia  first  success  with 
his  songs,  "The  Violet,"  "Ich  liebe 
dich,"  "  The  Ivy  Leaf,"  and  the  piano 
pieces  "  Barcarolle,"  "  Astarte,"  and 
"  Arabian  Nights,"  which  were  fol- 
lowed by  the  successful  comic  operas 
"The  Wood  Witch"  and  "Princess 
Delft."  B.  Jan.  13,  1875,  Brooklyn, 
New  York;    add.  New  York  City. 


MILDER-HATTPTMANN         397 

Milder-Hauptmann  (Pauline 
Anna)  sang  sop.,  creating  the  rOle 
of  Fidelio  in  Beethoven's  opera  of  that 
name,  and  excelling  in  the  Gluck 
operas;  court  singer  at  Berlin.  B. 
Dec.  13,  1785,  Constantinople  j  daugh- 
ter of  an  Austrian  courier:  d.  May 
29,  1838,  Berlin. 

Militairement.    Fr.    Military. 

Militarmente.     It.    Military. 

Military  Band.  BAND  of  wind 
instruments. 

Military  Drum.     Side  DRUM. 

Miller  (Dr.  Edward)  wrote  "The 
Elements  of  Thoroughbass  and  Com- 
position," London,  1787;  composed 
songs,  flute  sonatas,  and  harpsichord 
music;  published  "Psalmes  of  David 
for  the  use  of  Parish  Churches "  in- 
cluding the  tune  "Rockingham"; 
played  organ,  Doncaster;  pupil  of 
Dr.  Burney.  B.  1731,  Norwich;  d. 
Sept.  12,  1807,  Doncaster. 

Millico  (Q-iuseppe)  composed  three 
operas,  three  cantatas,  songs;  sang 
sopranist  roles  in  Vienna  and  London 
opera.  B.  Poviglio,  Modena,  1739;  d. 
after  1780. 

Millocker  (Karl)  composed  "  II 
Guitarrera,"  known  in  German  as 
"  Der  Bettelstudent "  and  highly 
popular  in  English  as  "  The  Beggar 
Student,"  and  other  successful  farces. 
Pupil  of  the  Vienna  Conservatory 
der  Musikfreunde,  he  became  chap- 
elmaster  at  Gratz,  1864,  then  ac- 
cepted a  theatrical  engagement  in 
Vienna,  and  was  made  conductor  and 
composer  of  the  Theater  an  der  Wien, 
1869.  His  works  include  "  Der  Todte 
Gast,"    "Die    Beiden    Binder,"    "Di- 


ana," "  Fraueninsel,"  "  Ein  Abenteuer 
in  Wien,"  "Das  Verwunschene 
Schloss,"  "Grafln  Dubarry,"  "Der 
Feldprediger,"  "  Der  Vice- Admiral," 
"Die  Seben  Schwaben"  ("The  Seven 
Swabians"),  "Der  arme  Jonathan" 
( "  Poor  Jonathan  " ) ,  "  Das  Sontags- 
kind,"  "  Gasparone,"  "  Nordlicht."  B. 
May  29, 1842,  Vienna;  d.  Dec.  31,  1899, 
Vienna. 

Mills  (Bobert  Watkin)  sang  bass 
rSles  at  British  and  American  festi- 
vals and  in  concert,  debut  at  the  Crys- 
tal Palace,  London,  1884,  and  in 
America  at  a  Cincinnati  May  Eesti- 


MIITKIM 
val.  Mills'  voice  ranged  from  E  flat 
to  f.  He  studied  with  Edwin  Hol- 
land, London;  F.  Blasco,  Milan;  Sir 
J.  Barnby,  Randegger,  and  Blume, 
London.  B.  Painswick,  Gloucester- 
shire, Mar.  4,   1856;    add.  London. 

Mills  (Sebastian  Bacb)  played 
piano,  debut  before  Queen  Victoria  at 
seven,  and  each  season  at  the  New 
York  Philharmonic  Concerts,  1859-77, 
with  occasional  tours  of  America 
and  Europe;  pupil  of  his  father,  of 
Cipriani  Potter,  and  the  Leipsic 
Conservatory.  B.  Mar.  1,  1838,  Ci- 
rencester, Eng.;  d.  Dec.  21,  1898, 
Wiesbaden. 

Milton  (John)  composed  the  six- 
part  madrigal  "  Fair  Oriana  in  the 
morn,"  published  in  "The  Triumphes 
of  Oriana,"  1601,  psalms,  other  church 
music,  a  40-part  "In  Nomine";  a 
master  of  the  Scrivener's  Company, 
1634;  father  of  the  poet.  B.  Stanton 
St.  John,  near  Oxford,  about  1563;  d. 
about  1646,  London. 

Minaccevole  or  Minacciando.  It. 
Menacingly. 

Minaccevolmente.  It.  In  a 
threatening  manner. 

Mineur.     Fr.    Minor. 

Mingotti  (Begina)  sang  sop.  in 
opera,  ousting  Faustina  from  Dres- 
den, and  later  winning  favour  in  vari- 
ous European  capitals.  Daughter  of 
Valentini,  an  Austrian  army  oflicer, 
she  married  the  impresario  of  the 
Dresden  opera  at  14,  then  studied 
with  Porpora,  and  mastering  French 
and  Spanish  as  well  as  German  for 
singing  purposes.  B.  1728,  Naples; 
d.  1807,  Neuberg  on  the  Danube. 

Minikin.  Small  gut  string  for 
lutes  and  viols. 

Minira.    Half-note. 

Minnesinger.  The  poets  and  mu- 
sicians who  produced  the  minnelieder 
or  love  songs  of  Germany  in  the  12th 
and  13th  centuries  were  usually  of 
noble  birth  like  the  TROUBADOURS. 
The  type  is  portrayed  in  TANN- 
HAUSER.  Eventually  the  Minne- 
singers died  out  to  be  succeeded  by  the 
plebeian  MEISTERSINGERS. 

Minnim.  Heb.  Word  occurring  in 
the  Psalms  rendered  in  the  Eng.  ver- 
sion as  "stringed  instruments." 


MINOS 


398 


HIXOLYBIAIT 


Uinor.  L.  "Less,  smaller."  Minor 
intervals  contain  one  semitone  less 
than  major.  The  minor  third  is 
characteristic  of  scales  in  the  minor 
mode. 

Minor  Canon.  Priests  skilled  in 
music  who  supervise  services  in  col- 
legiate and  cathedral  churches. 

Minstrels.  The  attendants  of  the 
Troubadours,  most  of  whom  were 
able  to  play  the  rebec  and  accompany 
their  masters,  were  so  called.  A 
strolling  musician;  performer  in 
NEGRO  MINISTRELSY.  ' 

Minuet.  Stately  dance  in  triple 
time,  said  to  have  originated  in  Poitou 
about  the  middle  of  the  17th  century. 
The  earliest  music  in  minuet  form  is 
that  of  LuUi.  The  dance  became  pop- 
ular at  the  court  of  Louis  XIV,  the 
monarch  often  displaying  his  skill  in 
this  measure,  and  thence  it  spread  to 
the  English  court.  It  was  soon 
adopted  as  one  of  the  movements  of 
the  Suite,  whence  it  passed  to  the 
Sonata.  Minuets  are  to  be  found  in 
the  works  of  Bach,  Haydn,  Mozart. 
Beethoven,  however,  substituted  the 
Scherzo  in  his  symphonies. 

Minuetto.    It.    Minuet. 

Mirecourt.  A  town  in  the  Vosges 
which  has  become  famous  for  its 
production  of  the  cheaper  class  of  vio- 
lins. The  VUILLAUME  family  origi- 
nated there,  as  well  as  other  well- 
known  families  of  French  violin 
makers.  In  1867  Thibouville-Lamy 
organized  several  of  the  small  fac- 
tories under  his  own  management,  in- 
stalled machinery,  and  soon  attained 
a  yearly  output  of  40,000  instru- 
ments, giving  employment  to  5000 
people. 

Mireille.  Charles  F.  Gounod's  five- 
act  opera  to  book  by  Carrfi,  based  on 
a  poem  of  Mistral's,  was  first  per- 
formed Mar.  19,  1864,  at  the  Theatre 
Lyrique,  Paris. 

Miscella.     MIXTURE  stop. 

Miserere  Mei  Sens.  L.  "Have 
mercy  upon  me,  O  God."  These 
words,  with  which  the  51st  Psalm 
opens,  give  it  the  name  Miserere. 
This  Psalm  forms  part  of  the  service 
of  the  TENEBR^,  sung  in  Roman 
Catholic  churches  for  three  days  in 


Holy  Week  ending  with  Good  Friday, 
Gregorio  AUegri's  setting  of  the  Mise- 
rere is  the  one  used  in  the  famous 
services  held  in  the  Sistine  Chapel  at 
Rome. 

Mishrokitha  or  Masrakitha.  tteb. 
Syrinx  or   PAN'S   PIPES. 

Misoura.    It.    Measure,  bar. 

Missa.  L.  and  I.  MASS,  as  Brevls, 
short  mass;  Canonica,  canonical 
mass ;  Cantata,  sung  mass ;  Fro  De- 
functis,  mass  for  the  dead  or  re- 
quiem; Solemnis,  solemn  or  high 
mass. 

Misskallig.  Qer.  Dissonant,  dis- 
cordant. 

Missklang.  Ger.  Discord,  ca- 
cophony. 

Misterioso.     /*.     Mysterious. 

Misteriosamente.  It.  Mysteriously. 

Misurato.  It.  Measured,  strict 
tempo. 

Mit.    Qer.    "With." 

Mitchell  (John)  managed  comic 
opera  companies  in  London  and  the 
first  English  performance  of  Rossini's 
Stabat  Mater,  1842.  B.  London, 
April  21,  1806;    d.  Dec.  11,  1874. 

Mitlaut.  Qer.  Concord,  conso- 
nance. 

Mittel.  Qer.  Middle,  as  Stimme, 
middle  part  or  voice;  Cadenz,  imper- 
fect CADENCE. 

Mittenwald  has  been  the  chief  seat 
of  the  Bavarian  instrument  makers 
since  1684,  when  Matthias  Klotz,  a 
pupil  either  of  Stainer  or  Nicholas 
Amati,  settled  there.  Sebastian,  son 
of  Matthias,  was  the  most  notable 
member  of  the  family,  which  made 
instruments  for  more  than  200  years. 
The  Hornsteiners,  Neuners,  Baaders, 
and  Reiters  were  other  families  dis- 
tinguished as  instriunent  makers,  a 
craft  which  gave  employment  to  more 
than  500  Mittenwalders  in  1908. 

Mixed  Cadences  contain  character- 
istic chords  of  both  Plagal  and  Au- 
thentic  CADENCES. 

Misled  Modes  embrace  the  compass 
of  both  Authentic  and  Plagal 
MODES. 

Mixed  Voices.  Chorus  of  both  male 
and  female  voices. 

Mixolydian.  The  seventh  ecclesi- 
astical MODE  having  G  as  its  Final. 


UIXTUBE                    399  HOStTLATION 

SEixture.     Organ  stop  with  from  guished   at   first   by   the    Dominant, 

two  to  five,  but  usually  three  ranks  of  which  served  as  the  reciting  note  in 

pipes   giving   high   harmonics   of   the  most  of  the  PLAIN-SONG  melodies, 

ground  tone,  and  used  in  combination  and  more  especially  in  later  ages  by 

with  foundation  and  compound  stops,  the  Final,  which  corresponded  in  im- 

Mizler  von  Eolof  (Lorenz  Chris-  portance  with  the  modem  Tonic  or 
toph)  founded  the  Leipsic  "Assooia-  JKey  Note.  In  an  Authentic  Mode, 
tion  for  Musical  Science,"  1738,  of  the  lowest  note  was  the  Final.  In 
which  Bach,  Graun,  and  Handel  were  the  corresponding  Flagal  Mode,  the 
members;  wrote  on  Thoroughbass;  same  note  served  as  a  Final,  al- 
edited  musical  periodical;  pupil  of  though  the  compass  extended  a 
J.  S.  Bach;  became  a  magistrate.  B.  fourth  lower.  Where  a  melody  re- 
July  25,  1711,  Heidenheim,  Wiirtem-  quired  the  compass  of  both  an  Au- 
burg;    d.  1778,  Warsaw.  thentic  Mode  and  its  Plagal,  it  was 

Mock    Doctor.     English    title    of  said  to  be  in  a  Mixed  Mode.     Greek 

Charles    F.    G«unod's    "MEDECIN  names  were  at  first  given  the  Modes, 

MALGRE  LUI."  which  afterwards  came  to  be  desig- 

ICode.  In  modern  music  all  scales  nated  by  number,  and  at  the  time  of 
are  either  in  the  MAJOR  or  MINOR  their  chief  importance,  the  Modes  had 
mode.  The  genesis  of  the  scale  or  the  following  names  and  compasses, 
mode  and  the  genera  by  which  an  the  Dominant  and  Final  of  each 
even  greater  variety  of  material  was  being  enclosed  in  brackets:  First  Au- 
afforded  for  the  construction  of  mel-  thentic  or  Dorian,  D  to  d  (a  D)  j 
ody  than  now  exists  have  already  been  Second  Plagal  or  Hypodorian,  A  to 
explained  under  the  head  of  GREEK  a  (F  D) ;  Third  Authentic  or  Phry- 
MUSIC.  The  Latin  people  having  gian,  E  to  e  (b  E)  ;  Fourth  Plagal 
always  borrowed  from  the  Greeks  in  or  Hypophrygian,  B  to  b  (a  E) ; 
the  matter  of  art,  it  was  natural  for  Fifth  Authentic  or  Lydian,  F  to  f 
the  church  musicians  of  the  early  (c  F) ;  Sixth  Plagal  or  Hypolydian,  C 
eenturies  of  the  Christian  era  to  to  c  (a  F ) ;  Seventh  Authentic  or 
adapt  as  far  as  they  were  able  the  Mixolydian,  G  to  g  (d  G) ;  Eighth 
Greek  theories  and  nomenclature  of  Plagal  or  Hypomixolydian,  D  to  d 
music  to  that  used  in  worship.  Tra-  (e  G).  In  the  period  of  transition 
dition  has  it  that  St.  Ambrose  em-  between  the  Modal  and  Tonal  systems 
ployed  four  Modes,  and  that  St.  Greg-  attempts  were  made  to  increase  the 
ory  added  four  Plagal  to  these  Au-  number  of  the  Modes  to  12  and  even 
thentic  Modes,  and  it  is  at  least  14,  but  these  only  added  to  the  con- 
certain  there  are  eight  Gregorian  fusion  of  the  theorists. 
Tones  corresponding  to  eight  Modes.  Mix  (Jennie  Irene)  wrote  music 
These  Modes  differed  not  in  tonality,  criticism  for  the  Pittsburgh  "Post" 
for  the  compass  of  each  is  to  be  and  serial  newspaper  articles  includ- 
found  on  the  white  keys  of  the  piano,  ing  "  Informal  Talks  About  Great 
but  in  pitch.  The  introduction  of  a  Composers";  pupil  of  Franklin  Bar- 
chromatie  in  the  eantus  firmus  or  rett,  Cleveland,  Ohio.  B.  Feb.  7,  1870; 
melody  was  alike  forbidden  by  church  add.  Pittsburgh,  Pa. 
law  and  by  taste.  Later  the  use  of  Moderatissimo.  /*.  Very  moder- 
B  flat  was  allowed  when  necessary  ate.  ,  „  ,  .  , 
to  avoid  a  TRITONE,  and  with  the  Moderate.  It.  Moderately, 
growth  of  polyphonic  music  chroma-  Moderazione,  con.  It.  With  mod- 
tics  were   introduced  in   other   parts  eration. 

than  the  eantus  firmus,  in  perform-  Modinha.    Portuguese  love  song, 

ance.  Hut  not  in  notation,  a  practice  Modulation.     Change   of  key,  as 

which  gave  rise  to  the  term  MUSICA  Diatonic,  when  accomplished  by  the 

FICTA       The    eight    Modes     which  use    of    chords    from    relative    keys; 

served  from  the  time  of  Gregory  were  Chromatic,  by  means  of  non-relative 

ascending    scales,    and    were    dlstin-  keys;   Enharmonic,  when  effected  by 


UODULAZIONE                 400  MOITODBAHA 

the  alteration  of  NOTATION;  Final,  Monasterio,  de  (Jesus)  played  vio- 

or  complete,  when  a  new  tonality  is  es-  lin,    debut    at    seven,    distinguishing 

tablished;    Partial,  or  passing,  when  himself    in    quartet    and    as    soloist; 

the  change  of  key  is  only  transient.  taught  Madrid   Conservatory;     pupil 

Modulazione.     /*.     Modulation.  of    De    Beriot.      B.    April    18,    1836, 

Hoduliren.     Oer.    To  modulate.  Santander;     d.   Sept.   28,   1903,   San- 
Modus.  L.  MODE;  KEY;   SCALE,  tander. 

IVColinara.     Giovanni   Paiaiello's  Monaulos.      Oer.     Flute-a-bec   or 

opera,  first  performed  at  Naples,  1788,  reed-pipe. 

contains  the  song  "  Nel  cor  pill  non  mi  Mondonville,    de    (Tean    Joseph 

sento  "  upon  which  Beethoven  wrote  Cassanea)  composed  the  opera  ballet 

six  variations,  and  which  became  pop-  "  Le  Carnaval  du  Parnasse,"  1749,  the 

ular    in   England   as   "Hope    told   a  opera  "Titon  et  I'Aurore,"  oratorios; 

flattering  tale."  conducted  the   Paris   Concerts-Spirit- 

SEolinaro     (Simone)     composed  uel,  1755-62;    played  violin;    prot6g6 
church    music    interesting    as    early  of  Mme.  de  Pompadour.     B.  Dec.  24, 
specimens    of   harmonic  writing;    be-  1711,  Narbonne;  d.  Oct.  8,  1772,  Belle- 
came   chapelmaster   of   Genoa   Cathe-  ville  near  Paris, 
dral,  1599,  in  succession  to  his  uncle  Mouferina.     It.    Peasant  dance, 
and  teacher,  G.  B.  dalla  Goatena.  Mougiui  sang  ten.  rSles  in  London 

Molique  (Wilhelm  Bernard)  com-  opera,    1859-63 ;    D.   1874,  London, 

posed     six     violin     concertos,     eight  Moniuszko  (Stanislaus)  composed 

string  quartets,  the  oratorio  "  Abra-  "  Die  Grafin,"  "  Der  Paria,"  and  in  all 

ham,"     Norwich     Festival,     1860,     a  14  operas,  five  masses,  "  Le  Cosaque " 

symphony,  two  masses;  led  the  Stutt-  and  other  songs,  chorals;    played  or- 

gart  Royal  Orchestra,  1826-49 ;  toured  gan;     taught   Warsaw    Conservatory. 

Europe  as  violin  virtuoso;    pupil  of  B.  Minsk,  May  5,   1820;    d.  June  4, 

Rovelli  and  Sophr.     B.  Oct.  7,  1802,  1872,  Warsaw. 

Nuremberg;    d.  May  10,  1869,  Oann-  Xonk  (Dr.  Edwin  George)  com- 

stadt.  posed    anthems,    a    service;      edited 

Moll.    Ger.    Minor.  Anglican     church    music;      compiled 

DIoUe.     L.     "  Soft."     Name  for  B  libretti   for   oratorios ;     organist  and 

flat,  the  first  chromatic  permitted  in  choirmaster  York  Cathedral;   pupil  of 

mediaeval  music.  Hullah,  Phillips,  Macfarren.    B.  Dec. 

HoUement.    /*.    Softly.  13,   1819,  Frome,  Somerset;    d.  Jan. 

Mollenhauer    (Edward    B.)    was  3,  1900,  Radley,  near  Oxford, 

among  the   first  to  establish  a   con-  Monk    (Williani   Henry)    became 

servatory  of  music  in  America;    com-  choirmaster,    organist,    and    teacher, 

posed  two  operas,  three  symphonies.  King's  College,  London;    taught  Na- 

chamber  music;    played  violin;     pu-  tional    Training    School    for    Music, 

pil  of  Ernst.     B.  April  12,  1827,  Er-  1876;    edited  church  music,  lectured, 

furt;     settled    in    New    York,    1853.  B.  Mar.  16,  1823,  London;    d.  Mar.  1, 

Emil  played  violin;  conducted  Boston  1889,  London. 

Handel  and  Haydn  Society.  B.  1855,  Monochord.  An  instrument  con- 
Brooklyn;  nephew  of  EDWARD  R.;  sisting  of  a  sound  board  and  single 
add.  Boston.  string  with  a  movable  bridge,  used  for 

Holler   (Joachim)   composed  Pas-  determining   the   nature   of   intervals 

sions  and  other  sacred  music;    played  and  pitch;   CLAVICHORD;  MARINE 

organ    St.   Blasius,    Muhlhausen,    of  TRUMPET. 

which  city  he  was  a  senator;  known  Monocordo.     It.     Indicates  that  a 

as   von   Burck   or   Burgk.     B.   Burg,  passage    is    to    be    played    on    one 

Madgeburg,   1541;     d.  May  24,   1610.  string. 

MoUtonart.    Qer.    Minor  key.  Monodia.    It.    MONODY. 

MoUtonleiter.    Oer.    Minor  scale.  Monodie.     Fr.    MONODY. 

Molto.     Very   much,    as   Allegro,  Honodrama.     Dramatic  work  for 

very  quick ;  Sostenuo,  much  sustained,  a  single  performer. 


MONODY 


401 


MONTEVERDE 


BConody.  Song  for  single  voice, 
generally  applied  to  sacred  songs  of 
the  Homophonio  School,  and  the  form 
employed  in  early  operas  and  ora- 
torios. 

Monotone.  Declamation  of  words 
on  a  single  tone. 

Monpou  (Frangois  Iiouis  Hippo- 
lyte)  composed  "La  Eeine  Jeanne" 
and  other  ogee  popular  light  operas; 
"Si  j'etais  petit  oiseau"  and  other 
songs  to  words  by  Beranger,  De  Mus- 
set  and  Hugoi  played  organ  Paris 
churches ;  pupil  of  Porta,  Chelard  and 
Fetis.  B.  Jan.  12,  1804,  Paris;  d. 
Aug.   10,   1841,  Orleans. 

Monro  (George)  composed  music 
for  Fielding's  "Temple  Beau,"  1729, 
popular  songs;  played  organ  and 
harpsichord.     D.  about   1731. 

Monro   (Henry)   composed  sonata 

for  violin  and  piano,  songs;    played 

organ;    pupil  of  Ashley,  Dussek,  Dit- 

tenhofer  and  D.  Corri.    B.  1774,  Lin- 

■  coin,  Eng. 

Monsigny  (Pierre  Alexandre) 
composed  the  highly  successful  "  Fe- 
lix, ou  I'enfant  trouve,"  Nov.  24,  1777, 
Paris  Op6ra  Comique,  and  many 
earlier  operas  which  were  well  re- 
ceived, but  ceased  composing  after 
completing  the  work  named;  became 
Inspector  at  the  Paris  Conservatoire, 
member  of  the  Institute  and  Chevalier 
of  the  Legion  of  Honor.  Of  noble 
birth,  Monsigny  obtained  a  govern- 
ment clerkship  in  1749,  which  gave 
him  leisure  to  devote  to  music,  de- 
veloped much  skill  as  a  violinist, 
prosecuted  his  studies  while  a  mem- 
ber of  the  household  of  the  Duke  of. 
Orleans,  and  produced  "  Les  Aveux 
indiscrets,"  his  first  operatic  work, 
after  only  five  months'  study  of  com- 
position. The  Revolution  swept  away 
his  fortune,  he  resigned  his  appoint- 
ment at  the  Conservatoire,  but  was 
allowed  a  pension  of  about  $500  per 
annum  by  the  Op^ra  Comique  in  rec- 
ognition of  former  services.  B.  Oct. 
17,  1729,  Fauquembergue,  near  St. 
Omer;    d.   Jan.   14,   1817. 

Montagnana  (Antonio)  sang  bass 
in  London  opera  under  Handel,  1731, 
and  later  under  Porpora,  returning  to 
Handel's  company,  1738. 


26 


Montagnana  (Domenico)  made 
excellent  instruments  of  the  viol  fam- 
ily; pupil  of  A.  Stradivarius,  but  re- 
mained comparatively  unknown  be- 
cause many  of  his  instruments  bore 
counterfeit  labels  of  Stradivarius  and 
Bergonzi.    B.  1700;    d.  1740,  Venice. 

Montanari  (Francesco)  composed 
12  violin  sonatas;  played  violin  in 
orchestra  of  St.  Peter's,  Eome,  1700  to 
1730,  when  he  died  of  a  broken  heart 
(Burney)  because  Bini  outplayed 
him. 

Montant.    Fr.    Ascending. 

Monte,  de  (Eilipo)  composed  30 
books  of  madrigals,  two  books  of 
masses;  became  chapelmaster  to  the 
Emperors  Maximilian  and  Rudolph 
II;  treasurer  and  canon  Cambrai 
Cathedral;  known  also  as  Philippe  de 
Mons.  B.  about  1521,  Mons  or  Mech- 
lin;   d.  July  4,  1603. 

Monteclair,  de  (Michel  Fignolet) 
composed  the  opera  ballet  "  Festes  de 
I'Ete,"  1716;  the  opera  "Jephtg," 
1732;  played  and  taught  violin;  in 
boyhood  chorister,  Langrgs  Cathedral, 
later  doublebass  player,  Paris  Opfira. 
B.  1666,  Chaumont;  d.  1737,  St. 
Denis. 

Monter  in  TTt,  Be,  etc.  Fr.  To 
sing  the  scale  of  c,  d,  etc. 

Monteverde  (Claudio)  invented  the 
harmonic  style  of  composition  still  In 
vogue,  to  the  utter  destruction  of  the 
polyphonic  system,  which  had  reached 
its  culmination  in  Palestrina,  and 
from  1584,  when  his  first  book  of 
"  Canzonette  a  tre  voci "  appeared  in 
Venice,  exemplified  the  unprepared 
entrance  of  dissonances  such  as  the 
dominant  seventh  and  ninth,  and  with 
tongue  and  pen  defended  the  harmonic 
system  against  the  bitter  attacks  of 
the  contrapuntists.  Monteverde,  or 
as  he  sometimes  signed  himself, 
Monteverdi,  entered  the  service  of  the 
Duke  of  Mantua  in  boyhood  as  a  vio- 
linist. His  talent  attracted  general 
attention,  and  the  first  publication  re- 
ferred to  was  issued  when  he  was  but 
sixteen.  Possibly,  although  he  was  a 
pupil  of  Ingegneri,  the  Ducal  chapel- 
master, the  violation  of  counterpoint 
in  this  and  In  subsequent  early  books 
of  madrigals  may  have  been  owing  to 


ISON'TEVEBDE 


402 


MOONLIGHT   SOITATA 


ignorance.  The  "  Cruda  Amarilli  "  of 
his  Fifth  Book  of  Madrigals,  1605,  was 
the  beginning  of  the  revolution  in  art. 
Artusi  of  Bologna  published  a  severe 
attack  on  the  young  composer  under 
the  title  "Delle  imperfettione  della 
moderna  musica,"  to  which  Monte- 
verde  replied  by  a  letter  prefixed  to 
his  next  work,  addressed  "Agli  stu- 
diosi  lettori,"  and  disputes  among  the 
musicians  became  so  bitter  that  Monte- 
verde  visited  Pope  Clement  VIII  to  en- 
list the  sympathy  of  the  church  in  his 
new  style.  In  1602  he  became  chapel- 
master  at  Mantua,  and  five  years 
later,  on  the  occasion  of  the  marriage 
of  the  duke's  son,  produced  his  opera 
"  Orfeo,"  which  was  orchestrated  for 
36  instruments,  and  is  said  to  have 
embodied  what  are  still  regarded  as 
"  new  conceptions  "  in  opera.  "  Ari- 
anna,"  a  serious  opera  which  had  a 
great  success,  but  which  is  no  longer 
extant,  and  "II  ballo  delle  ingrate,"  a 
mythological  spectacle,  were  the  re- 
maining works  of  the  composer  dur- 
ing his  residence  in  Mantua,  which  he 
quitted,  1613,  to  become  ehapelmaater 
at  St.  Mark's,  Venice.  There  he  re- 
ceived a  salary  of  300  ducats,  the  use 
of  a  house,  an  allowance  for  his  ex- 
penses in  moving,  and  in  1616  had 
his  salary  increased  to  500  ducats,  or 
more  than  twice  as  much  as  any  of 
his  predecessors  had  received.  Not- 
withstanding the  enmity  of  the  theo- 
rists, he  was  soon  the  most  popular 
composer  in  Europe.  Among  the 
works  which  spread  his  fame  abroad 
were  a  Eequiem  for  Duke  Cosmo  II  of 
Florence,  "II  Combattimento  di  Tan- 
credi  e  Florinda,"  a  dramatic  interlude, 
"  Licori,  la  finta  pazza,"  for  the  court 
of  Parma ;  the  cantata  "  II  Kosajo 
florito,"  the  opera  "  Proserpina  rap- 
ita,"  and  a,  mass  with  trombone  ac- 
companiment to  the  Gloria  and  Credo, 
in  thanksgiving  for  the  cessation  of  a 
plague  which  had  ravaged  Venice. 
In  1633  Monteverde  was  admitted  to 
the  priesthood,  and  was  not  again 
heard  of  as  a  composer  until  1637, 
when  the  first  opera  house  was  opened 
in  Venice.  "  L'Adone  "  was  written 
for  this  occasion,  and  later  he  com- 
posed the  operas  "Le  Nozze  di  Enea 


con  Lavinia,"  "  L'Incoronazione  di 
Poppea"  (his  last  work),  and  the 
ballet  "Vittoria  d'Amore."  Three  vol- 
umes of  church  music,  eight  books 
of  madrigals,  a  set  of  scherzi  musi- 
cali,  the  volume  of  canzonettes  of 
1584,  and  "  Orfeo  "  survive  in  printed 
form.  B.  May,  1567,  Cremona;  d. 
Nov.  29,  1643,  Venice. 

Montgomery  (Hugh,  Earl  of  Eg- 
lintoun)  composed  Strathspeys  pub- 
lished anonymously  by  Gow  in  Edin- 
burgh, songs,  marches,  etc.  B.  Nov. 
29,  1739;    d.  1819. 

Monticelli  (Angelo  Haria)  sang 
sopranist  rdles  with  complete  success 
in  Rome,  debut  1730,  later  in  Venice, 
London,  Vienna,  and  Dresden.  B. 
about  1710,  Milan;    d.  1764,  Dresden. 

Montig^y-Bemaury  (Fanny  M. 
Caroline)  played  piano,  touring  Eu- 
rope with  success;  pupil  of  her  sister, 
Mme.  Ambrose  Thomas;  and  of  the 
Paris  Conservatoire,  first  prize,  pi- 
ano, 1858;  prize,  solfege,  1859;  first 
prize,  harmony,  1862.  B.  Jan.  21, 
1843,  Pamirs;    add.  Paris. 

Montre.  Fr.  Pipes,  generally  dia- 
pason, mounted  and  "  shown "  in  the 
fronf  of  an  organ. 

Morceau.  Fr.  Small  composition; 
excerpt. 

DIordente.  It.  Beat,  shake,  pass- 
ing turn. 

SConzani  (Theobald)  played  fiute; 
manufactured  fiutes  and  published 
music  in  London  in  partnership  with 
Cungdor  or  Cundon,  1804r-20.  A  son 
also  became  known  as  a  flautist. 

Hood.  Distinction  as  to  the  dura- 
tion of  the  Large,  Long,  and  Breve,  in 
obsolete  notation,  depended  upon 
signs  which  indicated  that  the  Mood 
or  Mode  was  Greater  or  Lesser. 

IVIoonlight  Sonata.  Ludwig  von 
Beethoven's  sonata  for  harpsichord 
or  piano.  Op.  27,  was  published  in 
Mar.,  1802,  with  a  dedication  to  Con- 
tessa  Giulietta  Guicoiardi.  The  com- 
poser did  not  class  it  with  his  best 
works.  The  title  comes  from  a  criti- 
cism written  by  Rellstab,  describing 
the  first  movement  as  resembling  a 
boat  on  Lake  Gfeneva  in  moonlight. 
Beethoven  was  content  to  style  it 
"  Sonata  quasi  una  fantasia." 


UOOBE  403  3I0BISSEAU 

Koore  (Homer)  composed  the  opera  an  especial  fondness  for  the  sacred 
"The  Puritans,"  St.  Louis,  1902;  works  of  Johann  Sebastian  Bach, 
taught  music.  B.  America;  add.  St.  One  of  these  organizations  in  Beth- 
Louis,  lehem,  Pa.,  gave  the  first  complete 
Kloore  (Thomas)  wrote  125  songs,  American  production  of  Bach's  Mass 
including  "The  Last  Rose  of  Sum-  in  B  minor.  Mar.  27,  1900,  under 
mer"  and  "The  Harp  that  Once  direction  of  J.  F.  WOLLE,  and  at 
Through  Tara's  Halls,"  published  as  subsequent  Bach  Festivals,  complete 
"  Irish  Melodies,"  and  set  to  tradi-  performances  of  the  Christmas  Ora- 
tional  Irish  tunes.  These  songs  torio  and  the  St.  Matthew  Passion, 
brought  him  about  $600  each,  showing  The  festivals  drew  visitors  from  all 
that  their  popularity  must  have  been  parts  of  the  United  States,  and  were 
as  immediate  as  permanent.  For  his  highly  commended  by  musicians  and 
"  Canadian  Boat  Song,"  "  Love  thee,  critics,  but  were  temporarily  sus- 
dearest,"  and  several  other  poems,  pended  on  Mr.  WoUe's  departure  for 
Moore  also  composed  original  melo-  California,  1905.  In  1908  a  large 
dies,  and  he  was  sufficiently  skilled  choir,  carefully  trained  for  the  pur- 
in  music  to  sing  his  songs  to  his  own  pose,  gave  a  Bach  Festival  at  Mont- 
accompaniment.        His      "  L  A  L  L  A    clair,  N.  J. 

ROOKH"    has    been    the    subject    of        HEorelli   (Giovaimi)   sang  bass  in 
many  operas.     B.  May  28,  1779,  Dub-    London    opera,    and    at    the    Handel 
lin;     d.    Sloperton   Cottage,    Devizes,    Commemoration,  1787. 
Feb.   25,    1852.  Morendo.    It.   "  Dying  away."  In- 

SCoorehead  (John)  composed  music    dicates  that  the  speed  and  tone  shall 
for  "The  Philosopher's  Stone,"  1795,    be  diminished, 
and  other  Covent  Garden  productions;        Moresca.     It.    Moorish  dance, 
played  violin;    in  early  life  a  sailor,        ISIori  (Nicolas)  played  violin;  pub- 
then  bandmaster.    B.  Ireland;  hanged    lished  music   in  London  in  partaier- 
himself,  near  Deal,  1804.  ship    with   LAVENU,   whose   mother 

Mooser  (Aloys)  built  organs  in  he  married.  B.  1796  or  1797,  London; 
Fribourg  and  Berne;  made  pianos,  d.  Jime  14,  1839.  Frank  composed 
B.  1770,  Fribourg;  d.  Deo.  19,  1829,  the  cantata  "Fridolin,"  and  the  op- 
Fribourg.  eretta   "River   Sprite."     B.   London, 

Morales  (Cristofero)  composed  16  Mar.  21,  1820;  son  of  NICOLAS;  d. 
masses  and  other  church  music  still  Aug.  2,  1873.  Nicolas,  Jr.,  com- 
sung  in  the  Sistine  Chapel;  chapel-  posed  music  to  Gilbert's  '  Wicked 
master  at  Toledo  and  Malaga  Cathe-  World,"  and  Psahn  cxxxvii.  B.  Lon- 
drals;  then  member  of  the  papal  don,  Jan.  14,  1822;  son  of  NICOLAS, 
choir  B.  Jan.  2,  1512,  Seville;  d.  Moriani  (Napoleone)  sang  ten.  in 
June  14,  1553,  Seville  or  Malaga.  opera,    debut    1833,    Pavia,    later    m 

Horalt  (Joseph)  was  concertmeis-    Lisbon,   Madrid,   Barcelona,   and  Vi- 
ter    of   the   Munich   court   orchestra,    enna;     favourite   singer   of   Mendels- 
1800-28,  and  with  his  brothers,   Jo-    sohn's;   Knight  "ft'ie  Order  of  Isa- 
hann    Baptist,    Philipp,    and   George,    bella      B    ^r.    10,    1808,   Florence; 
orsanized  a  string  quartet  which  was    d.  Mar.  4,  1878. 
celTrlS     for     its^  performance    of       Morigi  (Angelo)  composed  six  so- 
Haydn's  chamber  music.    B.  1775;    d.    natas  and  six  concerti  grossi  for  vio- 
Munich,  1828.    Johann  Baptist  com-    ^If  5    Pl^y«*  ^pl'^^^^fr?'' ""^y^r 
posed   a   mass,   two   string   quartets,    chestra;    V^V^l^^^^^""^'     ^-  ^^^^' 
two  symphonies  and  "Legons  method-   Rimini;    d.  1788,  Parma, 
iaues"  for  violin.    B.  Jan.  10,  1777;       Morisoo.    7t.    In  Moorish  style. 
/I   n^t  7   1S25  Munich  Morisseau  made  viohns  by  carving 

Mora^an  Choirs,  of  which  there  back,  sides  and  neck  from  a  single 
were  a  number  in  Pennsylvania,  com-  piece  of  wood,  having  conceived  the 
nosed  of  devout  members  of  the  idea  while  making  wooden  shoes.  The 
Ed  Brethren,  have  always  shown   instruments  are  described  in  a  bulletin 


KOBITZ 


404 


KOSCEELES 


of  1864  from  the  "Sooi6t6  d'Enoour- 
agement  pour  I'lndustrie  Nationale." 

Koritz  (Iiandgraf  of  Hesse-Cas- 
sel)  published  a  Lutheran  hymnal, 
1601,  containing  24  tunes  of  his  own 
composition;  composed  Latin  psalms 
and  motets;  patronized  Heinrich 
SCHUTZ;  was  forced  to  retire  after 
embracing  the  Calvinistic  creed.  B. 
May  25,  1572;    d.  Mar.  14,  1632. 

IVCorlacchi  (Francesco)  composed 
a  coronation  cantata  for  Napoleon, 
Milan,  1808,  while  still  a  student, 
many  highly  successful  operas  includ- 
ing "Le  Danaide,"  1810,  Rome;  "II 
Barbier  de  Seviglia,"  1814;  ten  grand 
masses,  a  requiem  for  the  King  of 
Saxony,  1827,  the  Tuba  Mirum,  of 
which  he  professed  to  have  been  in- 
spired by  Michael  Angelo's  "  Last 
Judgment";  was  chapelmaster  at 
Dresden;  received  the  Golden  Spur 
and  the  title  of  Count  Palatine  from 
Pope  Pius  VII  in  reward  for  the  dedi- 
cation of  a  Passion;  and  in  short 
was  a  very  successful  musician  of  his 
time,  though  all  his  works  are  now 
forgotten;  pupil  of  Zingarelli  and  of 
Padre  Mattel.  B.  June  14,  1784, 
Perugia;  d.  Oct.  28,  1841,  Inns- 
bruck. See  biography  by  Count 
Rossi-Scotti. 

Morley  (Thomas)  composed  "It 
was  a  Lover  and  His  Lass  "  for  "  As 
You  Like  It,"  the  only  original  set- 
ting of  a  Shakespeare  song  of  im- 
doubted  authenticity  now  extant; 
many  madrigals,  of  which  two  ap- 
peared in  "  The  Triumphes  of  Ori- 
ana,"  1601;  canzonets,  ballets;  com- 
piled "  The  Whole  Booke  of  Psalmes," 
services,  a  Burial  Service;  wrote 
"  A  Plaine  and  Easie  Introduction 
to  Praeticall  Musicke,"  1597,  the 
only  important  work  in  English  on 
modal  music;  played  organ  St. 
Paul's  Cathedral;  sang  in  Eng. 
Chapel  Royal  from  1592.  Morley  was 
a  pupil  of  William  Byrd,  took  the 
degree  Mus.  Bac.  at  Oxford,  1588,  ob- 
tained a  21  years'  monopoly  of'  song 
book  publications,  1598;  and  was  the 
most  popular  and  most  fortunate  of 
Elizabethan  composers.  B.  1557;  d. 
about  1603. 

lEorley     (William)     composed    a 


double  chant  in  D  minor;  sang  Eng. 
Chapel  Royal.  Graduated  Mus.  Bac, 
Oxford,   1713;    d.  Oct.  29,   1731. 

mormorando  or  Hormorosa.  It. 
murmuring,   whispering. 

IVEomlngtoii,  Earl  of  (Garrett  C. 
W.),  composed  a  chant  in  E  flat,  other 
church  music,  glees,  m  a  d  r  i  g  al  s, 
catches;  founded  Academy  of  Music, 
Dublin,  1757;  taught  music  Dublin 
University,  which  gave  him  degree 
Mus.  Dr.;  was  the  father  of  Arthur, 
Duke  of  Wellington.  B.  Dangan,  Ire- 
land July  19,  1735;    d.  May  22,  1781. 

IMCorris  Dance  was  highly  popular 
at  English  rustic  festivals,  and  is 
still  in  vogue  in  remote  parts  of  Eng- 
land, the  music  being  furnished  by 
pipe  and  tabor.  It  was  originally  a 
costume  dance,  the  characters  being 
often  those  familiar  from  the  Robin 
Hood  ballads.  Of  Moorish  or  Spanish 
origin,  the  dance  later  became  asso- 
ciated with  many  tunes,  some  in 
4r-4:,  others  in  3-4  time. 

Morte.  Fr.  "  Death,"  a  hunting 
signal  announcing  that  the  game  has 
been  slain. 

Kortier  de  Fontaine  played  piano 
in  various  European  music  centres; 
said  to  have  been  first  to  perform  in 
public  the  Beethoven  sonal^.  Op.  106. 
B.  May  13,  1816,  Warsaw;  d.  May 
10,  1883,  London. 

Mosclieles  (Ignaz)  composed  142 
works,  including  concerto  in  G  minor. 
Op.  60;  concerto  pathetique,  Op.  93; 
sonata  melaneolique,  Op.  49;  "Hom- 
mage  a  Handel "  for  two  pianos,  Op. 
92;  24  etudes,  Op.  70;  three  AUegri 
di  Bravura,  Op.  51;  Characteris- 
tische  Studien,  Op.  95;  toured  Eu- 
rope with  great  success  as  piano  vir- 
tuoso; taught  Mendelssohn  and  later 
joined  that  composer  as  first  piano 
instructor  in  the  newly  founded  Leip- 
sic  Conservatory.  As  a  boy  Moscheles 
proved  an  apt  pupil  at  the  Prague 
Conservatory  under  D.  Weber;  played 
a  concerto  of  his  own  in  public  al 
14;  and  shortly  afterwards  settled 
in  Vienna,  where  he  had  lessons  of 
Albrechtsberger  and  Salieri.  In  1814 
he  scored  Beethoven's  "  Fidelio  "  for 
piano  under  direction  of  the  com- 
poser  (Artaria  &  Co.),  and  then  be- 


ntosi;  in  egitto 


405 


mOTTI. 


gan  his  career  as  concert  pianist. 
He  was  a  special  favourite  with  the 
British  public,  and  made  his  last  pub- 
lie  appearance  at  a  charity  concert 
given  by  Jenny  Lind-Goldsehmidt, 
London,  1865,  where  he  improvised 
admirably.  B.  May  30,  1794,  Prague; 
m.  Charlotte  Embden;  d.  Mar.  10, 
1870,  Leipsic.  See  "Life  of  Mos- 
cheles,"  Eng.  trans,  by  A.  D.  Coleman. 

Mose  in.  Egitto.  Gioacchino  A. 
Rossini's  oratorio  or  opera  (it  has 
been  sung  as  both) ,  to  book  by  Tottala, 
was  first  performed  Mar.  5,  1818,  at 
the  San  Carlo,  Naples.  The  title  at 
the  Acad€mie  Royale  production,  1827, 
Paris,  was :  "  Motse  et  Pharaon,  ou 
le  Passage  de  la  Mer  Rouge." 

Mosel  (Giovamii  Felice)  composed 
for  violin;  played  violin;  directed 
music  at  the  court  of  Florence.  B. 
1754,  Florence ;   d.  after  1795. 

IVEosel,  von.  (Ignaz  Franz,  Edler) 
composed  operas,  incidental  music, 
oratorios,  songs;  conducted  the  first 
festivals  of  the  Vienna  Gesellschaft 
der  Musikf  reunde ;  arranged  and 
wrote  on  music;  custos  of  the  im- 
perial library,  Hofrath,  and  ennobled 
by  the  Emperor.  B.  April  1,  1772, 
Vienna;    d.  April  8,   1844,  Vienna. 

IVIoses.  A.  B.  Marx's  oratorio,  to 
book  which  he  compiled  for  Mendel- 
ssohn, was  first  performed  Dec,  1841, 
at  Breslau. 

Mosewius  (Johann  Theodor) 
founded  the  Breslau  Singakademie ; 
sang  and  directed  opera;  wrote  on 
music.  B.  KSnigsberg,  Sept.  25,  1788; 
d.  Sept.  15,  1858,  Schaffhausen. 

Moskowa,  de  la  (Prince  Joseph 
ITapoleon  Ney)  composed  the  one-act 
comic  operas  "  Le  Cent  Suisse," 
"  Yvonne,"  a  mass ;  aided  Adam  to 
found  the  "  Soci6t6  des  Concerts  de 
musique  religieuse  et  classique "  and 
Niedermeyer  to  found  his  "  ^cole  de 
musique  religieuse."  B.  May  8,  1803; 
son  of  Marshal  Ney;  m.  the  heiress 
of  Lafltte  the  banker;  d.  July  25, 
1857,  St.  Germain-en-Laye. 

Moszkowski  (Moritz)  composed 
the  opera  "  Boabdil,"  Berlin,  1892;  the 
three-act  baUet,  "Laurin,"  1896; 
Phantastischer  Zug  and  two  suites  for 
orchestra,   concerto  in   E  major  for 


piano,  a  symphony,  two  books  of  Span- 
ish Dances  for  piano,  four  hands; 
played  piano;  conducted;  member 
Berlin  Academy,  1899;  pupil  of  Dres- 
den, Stern,  and  Kullah  conservatories ; 
teacher  at  Kullah  Conservatory.  B. 
Aug.  23,  1854,  Breslau;  add.  Berlin. 
Alexander  wrote  criticism  and  books 
on  music.  B.  Jan.  15,  1851,  Poland; 
brother  of  MORITZ;   add.  Berlin. 

Mosso.  It.  "  Moved,"  fast,  as  Piu, 
faster;    Meno,  with  less  speed. 

nostra.    It.    DIRECT. 

Motet.  Composition  for  voices 
alone  in  polyphonic  style  to  Latin 
sacred  text,  for  use  in  the  worship  of 
the  Roman  Catholic  church.  The 
motet  was  in  freer  form  than  the  in- 
tegral parts  of  the  service,  sharing  the 
development  of  the  secular  madrigal. 
Full  Anthems  in  the  Anglican  church 
are  really  motets,  although  the  text  is 
in  English.  The  term  is  sometimes 
applied  to  church  cantatas  or  other 
sacred  compositions. 

Motetto.    It.    Motet. 

Jlotett  Society  was  founded  in 
1841,  London,  by  William  Dyce,  and 
has  published  editions  of  motets  by 
classic  composers. 

Motetus.  In  mediaeval  music,  the 
middle  part  of  a  polyphonic  composi- 
tion. 

Motif.  Ger.  Figure,  subject  LEIT- 
MOTIF. 

Motion.  Progression  of  a  part, 
which  is  said  to  Conjunct,  when  the 
degrees  of  the  scale  succeed  each  other ; 
Disjunct,  where  the  melody  proceeds 
in  skips;  Contrary,  where  two  parts 
move  in  opposite  directions;  Oblio[ue, 
when  one  part  moves  while  the  other 
remains  stationary;  Similar  or  di- 
rect, when  the  parts  move  in  the  same 
direction. 

Motive.  /*.  Figure,  subject,  mo- 
tive, motif. 

Moto.  /*.  Motion  or  movement; 
speed,  as  con,  with  speed;  Perpetuo, 
perpetual. 

Motteglando.  It.  In  a  joking  or 
bantering  manner. 

Mottl  (Felix)  conducted  the  court 
opera  at  Carlsruhe,  1881-1903 ;  super- 
vised the  New  York  production  of 
Parsifal,  1903-4;  became  director  Ber- 


MOTTTS 


406 


mOZABT 


lin  Royal  Academy  of  Music,  1904  j 
composed  the  operas  "  Agnes  Ber- 
nauer,"  Weimar,  1880;  "Ramin," 
"  Filrst  imd  Sanger,"  the  festival  play 
"Eberstein,"  Carlsruhe,  1881;  a  string 
quartet ;  the  song  cycle  "  Pan  in 
Busch."  In  boyhood  a  chorister,  Mottl 
entered  the  Imperial  Conservatory, 
Vienna,  studied  under  Hellmesberger, 
won  all  the  prizes  offered;  became 
conductor  of  the  Vienna  Wagner  So- 
ciety, and  in  1876  assisted  in  staging 
"  Der  Ring  des  Nibelungen  "  at  Bay- 
reuth.  B.  Aug.  29,  1856,  Unter  St. 
Veit,  near  Vienna;    add.  Berlin. 

Motus.    L.    Motion. 

Iffounsey  (Anne  Slieppard)  com- 
posed the  oratorio  "  The  Nativity," 
100  songs,  40  part-songs;  played  or- 
gan; pupil  of  Logier.  B.  April  17, 
1811,  London;  m.  W.  Bartholomew; 
d.  June  24,  1891.  Elizabeth  played 
organ,  piano,  guitar;  published  works 
for  all  three  instruments;  sister  of 
ANN  SHEPPARD.  B.  Oct.  8.  1819; 
d.  Oct.  3,  1905,  London. 

Mountain  (Henry)  played  violin; 
published  music  in  Dublin,  1785-90. 
Jfoseph  played  violin,  led  Covent  Gar- 
den Orchestra.  B.  Dublin;  son  of 
HENRY;  d.  London.  Sarah,  Sophia 
or  Bosomon  became  a  favourite  singer 
at  the  Haymarket  and  Covent  Garden ; 
pupil  of  Charles  Dibdin.  B.  Sadler's 
Wells,  1768 ;  daughter  of  circus  people 
named  Wilkinson;  m.  JOSEPH;  d. 
July  3,  1841,  Hammersmith. 

Mountain  Sylph.  John  Barnett's 
opera  in  two  acts,  to  book  by  J.  T. 
Thackeray,  was  first  performed  Aug. 
25,  1834,  at  the  English  Opera  House, 
London. 

Mount-Edgcum.be  (Bichard,  Earl 
of)  wrote  "  Musical  Reminiscences," 
1825;  composed  the  opera  "  Zenobia." 
B.  Sept.  13,  1764;   d.  Sept.  26,  1839. 

Mountier  sang  in  London  opera 
under  Handel;  in  early  life  chorister 
at  Chichester  Cathedral.  B.  Chiches- 
ter;   d.  after  1733. 

Mount  of  Olives.  Ludwig  van  Bee- 
thoven's oratorio  "  Christus  am  Oel- 
berg  "  is  so  called  in  the  English  ver- 
sion. Owing  to  the  aversion  of  the 
British  to  representations  of  Christ  on 
the  stage,  the  story  has  been  changed 


to  that  of  David,  and  in  this  mutilated 
form  the  work  was  sung  at  the  Bristol 
Festival,  1905. 

Mouret  (Jean  Joseph)  composed 
the  opera  "Ariane,"  1717;  "Lea  Tri- 
omphes  des  Sens,"  1732,  other  operas 
and  ballets;  conducted  at  Paris  Con- 
certs Spirituels  and  Academic  Royale. 
B.  April  16,  1682;  d.  Dec.  22,  1738, 
Charenton. 

Mousquetaires  de  la  Beine.  J.  F. 
E.  Halfivy's  three-act  opera,  to  book  by 
St.  Georges,  was  first  performed  Feb. 
3,  1846,  at  the  Paris  Op€ra  Comique. 

Moussorgsky  or  MussoTgski(Mo- 
deste  Petrovich)  composed  the  operas 
"  Boris  Godounov,"  St.  Petersburg, 
1874;  "  Kovanstchina,"  1880;  "The 
Matchmaker  " ;  songs,  including  sev- 
eral groups  devoted  to  child  life; 
"  The  Destruction  of  Sennacherib," 
and  "  Joshua  Navin,"  for  chorus  and 
orchestra ;  mixed  chorus  from  "  (Edi- 
pus,"  female  chorus  from  "Salammbo," 
and  the  unfinished  opera  "  The  Fair 
at  Sorochinsk."  Pupil  of  Balakirev 
and  follower  of  Dargomiskey,  this  com- 
poser abandoned  a  career  in  the  army 
to  devote  himself  to  music,  but  was 
soon  obliged  to  accept  a  government 
clerkship.  Losing  this  employment, 
the  greater  part  of  his  life  was  spent 
amid  sordid  surroundings,  and  toward 
the  last  he  wrecked  himself  by  the 
use  of  drugs  and  stimulants.  B.  Mar. 
16,  1835,  Karevo,  Paskov;  d.  Mar.  16, 
1881,  St.  Petersburg. 

Mouth.  Part  of  the  organ  pipe 
whence  the  sound  proceeds  as  opposed 
to  the  foot,  where  the  wind  enters. 

Mouth  Organ.     PAN'S  PIPES. 

Mouthpiece.  The  cup  or  beak- 
shaped  end  of  the  tube  of  wind  instru- 
ments  to  which  the  lips  are  applied. 

Mouton  (Jean)  composed  nine 
masses,  75  motets  and  psalms,  some 
chansons ;  became  singer  to  Louis  XII 
and  Francis  I  of  France,  canon  of 
Therounne  and  of  St.  Quentin;  real 
name  De  Hollingue;  pupil  of  Josquin. 
B.  Somme,  about  1475;   d.  1522. 

Movement.  Division  of  a  sonata 
or  symphony;  part  of  a  composition 
more  or  less  complete  in  itself;  MO- 
TION;   whether  of  melody  or  parts. 

Mozart  (Leopold)  wrote  a  Method 


KOZABT  407 

for  Violin,  Augsburg,  1756,  reprinted 
in  many  languages;  composed  the 
operas  "  Semiramis,"  "Die  Verstellte 
Gartnerin,"  oratorios,  church  music; 
was  composer,  musician,  and  chapel- 
master  to  the  Archbishops  of  Salzburg; 
married  Anna  Maria  Pertlin  or  Bertlin, 
of  St.  Gilgen,  and  became  the  father  of 
MARIA  ANNA  and  WOLFGANG 
AMADEUS  MOZART.  B.  Nov.  14, 
1719;  son  of  Johann  Georg,  a  book- 
binder of  Augsburg;  d.  May  28,  1787, 
Salzburg.  Maria  Anna  toured  Eu- 
rope as  a  pianist  in  childhood  with  her 
brother  WOLFGANG  AMADEUS; 
taught  music  in  Salzburg.  B.  July  30, 
1751,  Salzburg;  m.  Baron  von  Bercht- 
hold  zu  Sonnenberg;  d.  Oct.  29,  1829, 
Salzburg.  Constanze  Weber  became 
the  wife  of  WOLFGANG  AMADEUS; 
supported  their  children,  WOLFGANG 
and  KARL,  by  giving  concerts  after 
her  husband's  death;  in  1809  married 
the  Danish  diplomat,  George  N.  Nis- 
sen.  B.  Zell,  Lower  Austria;  d.  Mar. 
6,  1842,  Salzburg.  Wolfgang  Ama- 
deus  played  piano ;  composed;  founded 
the  Lemberg  Caeeilienverein.  B.  July 
26,  1791;  second  son  of  WOLFGANG 
and  CONSTANZE;  d.  July  30,  1844, 
Carlsbad,  Bohemia.  Karl  became  an 
Austrian  government  official,  but  was 
an  amateur  of  music.  Eldest  son  of 
WOLFGANG  and  CONSTANZE;  d. 
1858,  Milan. 

Ilozart  (Wolfgang  Amadeus) 
composed  the  operas  "  NOZZE  DI 
FIGARO,"  "DON  GIOVANNI," 
"  ZAUBERFLOTE,"  "COSI  FAN 
TUTTE,"  "ENTFUHRUNG  AUS 
DEM  SERAIL,""IDOMENEO,"  which 
retain  their  freshness  and  popular- 
ity after  more  than  a  century,  15 
masses,  41  symphonies,  and  a  wealth  of 
chamber  music  which  rank  him  as  the 
world's  greatest  master  of  melody. 
Light-hearted,  industrious,  imagina- 
tive, but  content  to  work  in  the  forms 
already  perfected,  and  composing  with 
a  grammarian's  strictness,  he  suf- 
fered the  extremes  of  poverty  and  was 
buried  in  the  potter's  field,  his  im- 
mortal works  his  best  and  long  his 
only  monument.  Profiting  by  the 
music  lessons  given  his  sister,  the  boy, 
whose  full  name  was  Johannes  Chrys- 


UOZABT 

ostemus    Wolfgangus    Amadeus,    was 
able  to  pick  out  thirds  on  the  harpsi- 
chord at  the  age  of  three.    This  led  to 
lessons  from  his  father,  and  he  had 
composed   some    minuets,    which    his 
father  noted  down,  when  not  yet  four. 
Before   he   was   six   Mozart   had   ap- 
peared in  the  comedy  "  Sigismundus 
Hungariae    Rex,"    given   at   Salzburg 
University,  and  a  few  months  later  his 
father  took  him  with  his  sister  for  a 
concert  tour.    The  boy  was  kindly  re- 
ceived by  the  Elector  at  Munich,  and 
then  the  family  visited  Vienna,  giving 
a  concert  at  Linz  while  on  their  jour- 
ney.    The  Emperor  called  the  lad  a 
little  magician,  had  him  play  with  a 
cloth  thrown  over  the  keyboard,  and 
the  Empress  and  ladies  of  the  court 
petted  both  children,  but  an  attack  of 
scarlet  fever  compelled  him  to  go  into 
seclusion.     On   his    recovery    he    ap- 
peared  in  concert   at   Fressburg,   re- 
turning with  his  father  and  sister  to 
their  home  for  the  holidays.     A  sec- 
ond and  more  extended  concert  tour 
began  in  June,  1763.     After  concerts 
in  many  of  the  larger  German  cities, 
the  Mozart  family  reached  Paris  in 
November  of  that  year,  and  for  the 
next  five  months  were  the  delight  of 
the  court  at  Versailles.     Young  Mo- 
zart's first  publication  dates  from  this 
sojourn,  four  sonatas  for  violin  and 
piano,  6,  7,  8,  and  9   (KSchel's  Cata- 
logue, see  below).    In  April,  1764,  the 
Mozarts  settled  for  a  time  in  London, 
where  they  were  received  warmly  by 
the  court  and  musicians.    The  boy  dis- 
tinguished himself  by  reading  difficult 
works  at  sight;  studied  with  J.  Chris- 
tian Bach  and  the  singers  Tenducci 
and  Manzuoli.     A  concert  in  Spring 
Gardens  brought  the  family  $2500,  and 
during  an  illness  of  his  father's,  which 
necessitated  quiet,  young  Mozart  com- 
posed his  first  symphonies,  15,  17,  18, 
and  19.    Six  of  his  early  sonatas  for 
violin  and  harpsichord  were  published 
with  a  dedication  to  the  Queen,  who 
presented    the    composer   with    $250. 
The  children  played  a  four-hand  piece 
for  harpsichord  at  concerts  given  later 
in  the  season,  and  during  a  visit  to 
the  British  Museum  young  Mozart  pre- 
sented to  the  institution  his  only  vocal 


HLOZART 


408 


MOZAKT 


number  to  English  words,  a  4-part 
motet.  The  family  then  departed  for 
The  Hague,  but  owing  to  illness,  which 
attacked  the  boy,  girl,  and  father  in 
turn,  were  prevented  from  giving  a 
concert  until  Jan.,  1766.  Two  suc- 
cessful entertainments  at  Amsterdam, 
at  one  of  which  the  boy's  symphony,  22 
was  performed,  were  followed  by  fes- 
tivities at  The  Hague  for  the  installa- 
tion of  the  Prince  of  Orange  as  Stadt- 
holder.  The  six  sonatas  for  violin  and 
piano,  26,  27,  28,  29,  30,  and  31,  and 
the  "  Galimathias  Musicum,"  a  con- 
certo grosso,  32,  and  the  harpsichord 
variations  on  "  Willem  van  Nassau  " 
were  composed  in  Holland,  and  then 
the  family  set  out  for  Salzburg,  giv- 
ing concerts  on  the  journey,  and  ar- 
riving at  their  home  in  Nov.,  1766. 
With  the  exception  of  a  sudden  flight 
in  a  vain  attempt  to  escape  an  epi- 
demic of  smallpox  (both  children  were 
attacked),  the  nest  two  years  were 
spent  at  home  in  study  and  composi- 
tion. Fux's  "  Gradus  ad  Parnassum  " 
was  the  text-book  for  Mozart,  as  for 
many  other  great  musicians.  His 
compositions  included  the  sacred  can- 
tata "  Die  Schuldigheit  des  ersten 
Gebotes,"  done  as  a  test  imposed  by 
the  Archbishop  of  Salzburg,  a  Pas- 
sions cantata,  42,  the  piano  concertos 
37,  39,  40,  41,  and  the  Latin  comedy, 
"  Apollo  et  Hyacinthus."  The  Mozarts 
then  visited  Vienna.  The  young  com- 
poser's first  opera,  "  La  finta  Sem- 
plice,"  was  composed  by  order  of  the 
•Emperor,  though  not  performed  until 
the  operetta  "Bastien  und  Bastienne" 
had  been  given  at  the  home  of  the  Mes- 
mer  family.  The  B  flat  major  string 
quartet,  46,  a,  trumpet  concerto,  and 
several  church  pieces  were  composed 
during  this  visit.  On  returning  to 
Salzburg  he  was  appointed  coneert- 
meister  to  the  Archbishop,  though 
without  salary,  composed  the  two 
masses,  65,  66,  and  the  Johannes  Of- 
fertorium,  72.  In  1769  Mozart's 
father  took  him  on  a  tour  of  Italy, 
where  he  was  heartily  welcomed  by 
the  musicians,  including  Padre  Mar- 
tini and  Farinelli,  and  became  inti- 
mate with  the  young  English  musician 
Thomas   Linley.     He   performed   the 


remarkable  feat  of  noting  the  Allegri 
Miserere  from  memory,  after  hearing 
it  in  the  Sistine  Chapel,  and  after 
having  given  successful  concerts  from 
Milan  to  Naples,  was  made  Knight  of 
the  Golden  Spur  by  the  Pope,  an  ex- 
traordinary honour  for  a  boy  of  14. 
The  Bologna  Accademia  Filarmonica 
broke  its  rules  to  honour  him  with 
membership,  and  during  the  same  year 
he  received  some  instruction  in  coun- 
terpoint from  Padre  Martini.  "  Mitri- 
date,  Ee  di  Ponto,"  Milan,  Dec.  26, 
conducted  by  the  composer,  estab- 
lished him  as  a  favourite  with  Italian 
lovers  of  opera,  and  won  him  several 
commissions.  During  a  short  sojourn 
in  Salzburg,  Mozart  composed  a  Lit- 
any, 109,  a  B«gina  coeli,  108,  and  a 
symphony,  110.  Then  returning  to 
Milan  he  composed  the  cantata  "As- 
canio  in  Alba"  for  the  marriage  of 
Archduke  Ferdinand  to  Beatrice  of 
Modena,  Milan,  Oct.  15,  1771,  for 
which  the  Empress  sent  him  a  gold 
watch  and  a  liberal  fee;  the  sym- 
phony, 112,  and  the  divertimento,  113. 
Again  in  Salzburg,  Mozart  was  ordered 
to  compose  an  opera  for  the  inaugura- 
tion of  von  Colloredo,  the  Archbishop 
elected  on  the  death  of  the  composer's 
earlier  patron.  "II  Sogno  di  Scipione" 
was  the  result,  and  the  symphonies, 
114,  124,  128,  129,  130,  the  diverti- 
mento, 131,  a  Kegina  coeli,  127,  the 
Litany  "  de  venerabili,"  125,  and  the 
string  quartets,  136,  137,  and  138  were 
composed  during  the  same  year.  Up 
to  this  time  Mozart's  life  had  been  ex- 
ceptionally happy.  He  had  worked 
hard,  but  though  a  Strict  taskmaster, 
Leopold  Mozart  had  been  a  kind  and 
indulgent  father,  and  as  an  "enfant 
phenomenon"  in  company  with  his 
sister,  Maria  Anna,  or  ^'  Nannerl,"  the 
young  musician  had  been  petted  by 
the  courts  of  London,  Paris,  Vienna. 
The  new  Archbishop  of  Salzburg 
proved  inappreciative  of  art  and  bru- 
tal to  his  artists.  In  contrast  to  the 
consideration  with  which  he  had  been 
treated  elsewhere,  Mozart  was  forced 
to  eat  with  the  servants,  and  was 
treated  as  one,  but  it  was  not  until 
1781  that  he  mustered  up  courage  to 
free  himself  from  this  disagreeable  en- 


liOZAItT                       409  IIOZABT 

vironment.  When  he  at  last  presented  sister  afterwards  became  his  wife, 
his  resignation,  he  was  literally  kicked  There  he  composed  the  soprano  air, 
out  of  the  palace  by  the  Archbishop's  292,  for  her;  and  the  tenor  air  for 
steward.  Count  Arco.  These  years  of  Raaflf,  295;  the  flute  pieces,  313,  314, 
servitude,  however,  were  spent  in  hard  315 ;  the  quartet  for  flute  and  strings, 
study  and  creative  work.  "Lucio  285;  the  piano  sonatas,  309,  310,  311; 
Silla,"  produced  at  Milan,  Dec.  26,  and  the  sonatas  for  violin  and  piano, 
1772,  under  the  composer's  direction,  296,  300  to  306.  Arriving'  in  Paris  in 
like  the  earlier  opera  composed  for  Mar.,  1778,  Mozart  found  the  musi- 
that  cultivated  city,  had  20  repeti-  cians  too  busily  engaged  in  the  rivalry 
tions.  The  symphonies,  181,  182,  183,  of  Gluck  and  Ficcini  to  pay  him  much 
184;  the  divertimenti,  186,  187,  188;  attention.  He  had  the  misfortune  to 
the  mass,  167;  the  concerto  for  two  lose  his  mother,  July  3,  1778,  and 
violins,  190;  the  serenata,  185;  the  after  this  bereavement  his  father  urged 
Pater  Domenicus  Mass,  66 ;  the  string  him:  to  return  to  Salzburg.  A  concerto 
quartet,  174;  the  masses,  192,  194;  for  flute  and  harp,  299,  12  niunbers 
the  litany,  195;  the  offertory,  198;  for  Noverre's  ballet  "  Les  petits  riens," 
the  bassoon  concerto,  191;  the  sym-  and  the  Paris  or  French  symphony, 
phonies,  199,  200,  201,  202;  the  sere-  297,  were  the  output  of  this  sojourn 
natas,  203,  204;  the  divertimento,  205;  in  the  French  capital.  In  1779  he  was 
and  the  variations  on  Fischer's  min-  home  again,  organist  as  well  as  con- 
uet,  179,  were  all  completed  before  the  certmeister  to  the  Archbishop,  but 
close  of  1773.  The  opera  "  La  flnta  fired  with  ambition  for  the  stage, 
Giardiniera "  was  produced  with  sue-  brought  about  by  association  with 
cess  at  Munich  in  1775,  as  well  as  his  Schikander.  Music  for  the  play 
"  Misericordias  Domini,"  222,  com-  "  Thames,"  and  the  opera  "  Zaide," 
posed  by  order  of  the  Elector.  The  which  waited  for  its  performance  until 
same  year  at  Salzburg,  his  mass,  220;  1866  (Frankfort),  were  the  only  im- 
the  airs  for  tenor,  209,  210;  the  air  mediate  dramatic  works,  but  in  other 
for  soprano,  2i7;  the  vocal  canons,  lines  he  was  more  prolific.  The  masses, 
226  to  234;  and  the  violin  concertos,  317  ("Coronation"),  337;  the  Kyrie, 
207,  211,  216,  218,  219,  had  their  323;  the  canons,  347,  348;  the  sym- 
first  hearing.  To  the  formidable  list  phonies,  319,  338;  the  "Villanella 
of  works  already  enumerated,  Mozart  rapita"  overture,  318;  the  duo  con- 
added  during  1777,  when  in  his  21st  certante  for  viola  and  violin,  364;  the 
year,  the  masses,  257,  258,  259,  262,  serenades,  320,  361;  the  piano  so- 
275 ;  "  Venite  populi,"  an  offertory  for  natas,  330  to  333 ;  the  divertimento 
two  choirs,  260 ;  the  litany,  243 ;  the  for  two  horns  and  string  quartet,  334 ; 
serenade,  249-250;  a  serenade  for  two  variations  for  violin  and  piano,  359, 
violins  and  accompaniment,  239;  the  360;  the  four-hand  sonatas,  357,  358; 
divertimento;  the  notturno,  286;  the  the  concerto  for  two  pianos,  365; 
divertimenti  for  string  quartet  and  the  organ  sonatas,  328,  329,  336;  the 
two  horns,  247,  287 ;  the  wind  sextets,  Kyrie,  341;  the  concert  aria,  369; 
240,  252,  253,  270,  289;  a  sonata  for  and  the  quartet  for  oboe  and  strings, 
bassoon  and  'cello,  292;  the  oboe  con-  370,  were  completed  by  1781.  Then 
certo,  293 ;  the  variations  for  piano,  Mozart  began  work  on  his  opera  "  Ido- 
264,  265;  and  the  sonatas,  238  to  meneo"  for  the  carnival  at  Munich. 
246;  the  concerto  for  three  pianos,  Recalled  from  Munich,  where  he  had 
242;  and  the  organ  sonatas,  241,  244,  gone  with  his  father  and  sister  to 
245,  263,  274,  278.  Having  obtained  attend  the  production  of  this  work, 
the  reluctant  consent  of  the  Arch-  Mozart  was  compelled  to  attend  the 
bishop,  Mozart,  this  time  accompanied  Archbishop  at  Vienna,  where,  after 
by  his  mother,  set  off  on  a  concert  repeated  humiliations,  as  already  re- 
tour  in  the  fall  of  1777.  While  at  lated,  he  left  that  prelate's  service, 
Mannheim  he  met  the  Weber  family,  June  8,  1781.  His  contest  at  the 
and  fell  in  love  with  Aloysia,  whose  piano    with    CLEMENTI,    in    which 


IXOZABT 


410 


mOZABT 


honours  appear  to  have  been  even, 
was  an  event  of  this  period.  A 
friendship  with  Haydn  sprang  up 
which  endured  with  life,  and  seems  to 
have  influenced  the  work  of  both  com- 
posers, and  Mozart  was  at  last  commis- 
sioned by  the  Emperor  to  write  an 
opera,  the  "Entfuhrung  aus  dem  Se- 
rail,"  July  16,  1782,  which  was  a  popu- 
lar success,  though  not  admired  by  the 
sovereign  himself.  From  the  same 
period  date  his  symphony  in  D,  385, 
and  the  Nachtmusik  for  wind  instru- 
ments in  C  minor,  known  also  as  a 
string  quintet,  388.  The  Webers,  with 
whom  Mozart  had  been  intimate  in 
Mannheim,  were  now  settled  in  Vi- 
enna. Mozart  lodged  at  their  house, 
and,  despite  the  opposition  of  his 
father,  married  Constanze  Weber, 
Aug.  4,  1782.  Four  sons  and  two 
daughters  were  the  issue  of  this  mar- 
riage. Husband  and  wife  were  equally 
improvident,  Mozart's  income  was  un- 
certain at  best,  and  his  life  was  thence- 
forth harried  by  financial  troubles. 
He  began,  but  failed  to  complete,  the 
comic  .operas  "  L'Oca  del  Cairo  "  and 
"  Lo  Sposo  deluso,"  but  while  on  a 
visit  to  Salzburg  with  his  bride,  pro- 
duced a  new  mass  in  honour  of  his 
marriage,  427,  and  two  duets  for  vio- 
lin and  viola,  423,  424,  for  Michael 
Haydn,  whom  the  Archbishop  had 
threatened  to  dismiss  from  his  post 
of  concertmeister  because  he  was  too 
ill  to  work.  The  piano  concerto  for 
Marie  T.  Paradies,  456,  and  the  sym- 
phony, 425,  were  completed  before  the 
composer's  return  to  Vienna,  where 
he  shortly  afterwards  enjoyed  a  re- 
turn visit  from  his  father.  Leopold 
Mozart  at  this  time,  influenced  by  his 
son,  already  an  enthusiastic  member, 
joined  the  Masonic  order.  It  is  inter- 
esting to  note  that  besides  the  sym- 
bolism of  "Magic  Flute,"  several  of 
MoZart's  works  show  Masonic  inspira- 
tion :  "  Gessellenlied,"  468 ;  "  Mauerer- 
freude,"  471;  "Maurerische  Trauer- 
musik,"  471;  the  choruses,  483,  484; 
the  cantata,  623 ;  the  adagio  for  wood- 
winds, 411;  and  the  cantata,  429. 
The  cantata  "  Davidde  penitente  "  was 
produced  in  March,  1785,  at  the 
Xonnklinstler  Societat,  and  the  com- 


poser again  devoted  himself  to  the 
theatre.  "  Der  Schauspieldirektor," 
produced  before  the  court,  Feb.  7,  1786, 
was  well  received  later  at  the  Karnth- 
nerthor  Theatre,  a  company  of  the  no- 
bility produced  "  Idomeneo  "  at  the 
Auerperg  Palace,  and  May  1,  1786 
saw  the  first  production  of  the  ever 
popular  "  Nozze  di  Figaro."  While 
waiting  for  another  suitable  libretto, 
he  composed  the  symphony,  504,  the 
contradanses  for  orchestra,  510,  and 
the  orchestral  dances,  509.  "  Don  Gio- 
vanni "  was  produced  with  equal  suc- 
cess, but  Mozart  remained  without 
financial  reward  for  these  great 
achievements.  At  a  time  when  he  had 
almost  determined  to  quit  Vienna  for 
London,  Gluck  died,  and  the  Emperor, 
who  had  been  paying  him  2000  gulden 
as  court  composer,  appointed  Mozart 
to  that  office  at  800  gulden,  or  about 
$400  per  annum.  "  Don  Giovanni," 
which  had  been  hailed  in  Prague  as  a 
masterpiece,  did  not  at  first  please 
the  Viennese.  The  E  flat,  G  minor, 
and  C  (Jupiter)  symphonies,  543,  550, 
and  551,  his  best  works  in  this  form, 
and  his  arrangements  of  Bach  and 
Handel  were  completed  before  the 
spring  of  1789,  when  Mozart  left  for 
Berlin  as  guest  of  Prince  K.  Lichnow- 
sky.  At  Dresden,  Leipsic,  and  Berlin 
the  composer  was  well  received.  Fred- 
erick Wilhelm  II  offered  him  the  post 
of  chapelmaster  with  $3000  per  annum 
salary,  and  commissioned  the  string 
quartets,  575,  589,  590.  Loyalty  to 
his  "  good  Emperor  "  caused  the  com- 
poser to  decline  this  excellent  offer. 
He  was  rewarded  by  the  commission 
for  "  Cosi  fan  tutte,"  which  was  hav- 
ing a  run  when  the  death  of  the 
Emperor,  Feb.  20,  1790,  plunged  Vi- 
enna into  mourning.  Ignored  by  the 
new  Emperor  Leopold  II,  Mozart 
nevertheless  pawned  his  plate  to  at- 
tend the  coronation  at  Frankfort, 
where  he  gave  a  concert  of  his  own 
works,  playing  before  the  courts  of 
Mannheim  and  Munich  on  his  way 
back  to  Vienna.  The  "Ave  Verum," 
618,  and  other  works  were  begun  at 
this  time,  and  in  March,  1791,  he  was 
requested  by  Schikaneder  to  compose 
the  "Magic  Flute."    He  was  hard  at 


KOZABT 


411 


MOZART 


work  on  this  opera  when  a  mysterious 
stranger  called  upon  him  to  engage  a 
requiem.  The  Estates  of  Bohemia  in- 
vited him  to  compose  an  opera  for  the 
coronation  of  Leopold  II  at  Prague, 
and  accordingly  Mozart  produced  "  La 
Clemenza  di  Tito,"  but  the  unfavour- 
able reception  of  his  work  by  the  court 
circles  was  a  grave  disappointment, 
and  he  hurried  back  to  Vienna  to 
resume  work  on  the  "Magic  Flute." 
This  work  was  produced  Sept.  30, 
1791.  The  audience,  at  first  cold,  grew 
more  appreciative  as  the  work  pro- 
gressed, and  eventually  it  became  one 
of  the  most  popular  of  Mozart's 
operas.  Ill,  depressed,  and  over- 
worked, Mozart  again  turned  to  the 
requiem.  He  fancied  that  he  was 
being  poisoned,  and  that  it  was  really 
his  ovni  requiem  he  was  composing. 
The  score  was  taken  away  from  him, 
and  he  recovered  sufficiently  to  com- 
pose a  cantata,  623,  for  his  Masonic 
Lodge,  and  to  conduct  it  himself,  but 
was  again  compelled  to  take  to  his  bed. 
The  requiem,  which  had  really  been 
ordered  by  Count  Walsegg,  through 
Leutgeb,  his  steward,  and  which 
was  performed  as  Walsegg's  own,  en- 
grossed Mozart's  thoughts.  He  called 
for  the  score  on  Dec.  4,  sang  part  of 
it  with  some  friends,  and  scored  a  few 
bars  of  the  Lacrimosa.  Later  he  gave 
his  pupil  Sussmayer  some  directions 
regarding  its  performance,  and  about 
1  A.  M.,  Dec.  5,  he  died.  During  his 
last  illness,  which  was  described  as  a 
malignant  typhus,  a  group  of  Hun- 
garian nobles  had  organized  to  guar- 
antee him  a  fixed  income,  and  in 
Amsterdam  a  subscription  was  formed 
for  the  purchase  of  his  compositions, 
which  were  to  be  the  property  of 
the  subscribers.  On  Dec.  6  funeral 
services  were  held  in  front  of  St. 
Stephen's,  that  being  the  custom  with 
the  very  poor.  A  violent  rainstorm 
drove  back  the  few  mourners  who 
might  otherwise  have  witnessed  the 
interment,  which  took  place  in  St. 
Marx  Churchyard.  Dec.  5,  1869,  the 
municipality  of  Vienna  caused  a  monu- 
ment to  be  unveiled  on  the  probable 
site  of  the  composer's  grave.  B.  Jan. 
27,  1756,  Salzburg;    d.  Dec.  5,   1791, 


Vienna.  See  biographies  by  Jahn, 
Eng.  tranp.  by  Pauline  ToMTisend; 
Holmes,  Fuchs,  Marx,  Lorenz,  Eoch- 
litz,  Andre,  G.  Weber,  G.  N.  von  Nis- 
sen,  and  Mozart's  letters,  Eng.  trans. 
Dr.  von  Kochel  prepared  a  thematic 
catalogue,  revised  and  brought  down 
to  1905  by  Count  Waldersee,  and  pub- 
lished, as  well  as  a  complete  edition 
of  Mozart's  works,  by  Breitkopf  &  Har- 
tel.  The  compositions  referred  to  in 
the  body  of  the  above  article  are  num- 
bered as  in  the  K8chel  Catalogue.  The 
complete  list  of  Mozart's  works  fol- 
lows: Masses:  49,  Missa  brevis  for  4 
Voices,  2  Violins,  Viola,  Bass,  and  Or- 
gan. G.  major.  65,  Missa  brevis  for 
4  Voices,  2  Violins,  Bass,  and  Organ. 
D  minor.  66,  Missa  for  4  Voices,  2 
Violins,  Viola,  2  Trumpets,  Kettle- 
drums, Bass,  and  Organ.  C  major. 
139,  Missa  for  4  Voices,  2  Violins,  2 
Violas,  2  Hautboys,  3  Trombones,  4 
Trumpets,  Kettle-drums,  Bass,  and  Or- 
gan. C  minor.  167,  Missa  in  hono- 
rem  SSmse  Trinitatis  for  4  Voices,  2 
Violins,  2  Hautboys,  4  Trumpets,  Ket- 
tle-drums, Bass,  and  Organ.  C  major. 
192,  Missa  brevis  for  4  Voices,  2  Vio- 
lins, Bass,  and  Organ.  F  major.  194, 
Missa  brevis  for  4  Voices,  2  Violins, 
Bass,  and  Organ.  D  major.  220,  Missa 
brevis  for  4  Voices,  2  Violins,  2  Trum- 
pets, Kettle-drums,  Bass,  and  Organ. 
C  major.  257,  Missa  longa  for  4 
Voices,  2  Violins,  2  Hautboys,  2  Trum- 
pets, 3  Trombones,  Kettle-drums,  Bass, 
and  Organ.  C  major  (Credo-Mass). 
258',  Missa  brevis  for  4  Voices,  2  Vio- 
lins, 2  Trumpets,  Kettle-drums,  Bass, 
and  Organ.  C  major  (Sparrow-Mass). 
259,  Missa  brevis  for  4  Voices,  2  Vio- 
lins, 2  Trumpets,  Kettle-drums,  Bass, 
and  Organ.  C  major.  262,  Missa  for 
4  Voices,  2  Violins,  2  Hautboys,  2 
Horns,  2  Trumpets,  Bass,  and  Organ, 
C  major.  275,  Missa  brevis  for  4 
Voices,  2  Violins,  Bass,  and  Organ.  B 
flat  major.  317,  Missa  for  4  Voices,  2 
Violins,  2  Hautboys,  2  Bassoons,  3 
Trombones,  2  Horns,  2  Trumpets,  Ket- 
tle-drums, Bass,  and  Organ.  C  major 
(Coronation  Mass).  337,  Missa  sol- 
emnis  for  4  Voices,  2  Violins,  2  Haut- 
boys, 2  Bassoons,  2  Trumpets,  3  Trom- 
bones, Kettle-drums,  Bass,  and  Organ. 


MOZABT 


412 


3I0ZABT 


C  major.  Litanies  and  Vespers:  109, 
Litaniae  de  B.  M.  V.  (Lauretanae)  for 
4  Voices,  2  Violins,  Bass,  and  Organ. 
B  flat  major.  12S,  Litanise  de  venera- 
bili  altaris  sacramento  for  4  Voices,  2 
Violins,  Viola,  2  Hautboys  ( 2  Flutes ) , 
2  Horns,  2  Trumpets,  Jiass,  and  Organ. 
B  flat  major.  195,  Litanise  Lauretanse 
for  Sop.,  Alt.,  Ten.,  2  Violins,  Viola, 
2  Hautboys,  2  Horns,  Bass,  and  Organ. 
D  major.  243,  Litaniae  de  venerabili 
altaris  sacramento  for  4  Voices,  2  Vio- 
lins, Viola,  2  Hautboys  (2  Flutes),  2 
Bassoons,  2  Horns,  3  Trombones,  Bass, 
and  Organ.  E  flat  major.  193, 
"Dixit"  et  "Magnificat"  for  4  Voices, 
2  Violins,  2  Trumpets,  Kettle-drums, 
Bass,  and  Organ.  C  major.  321,  Ves- 
perae  de  dominica  for  4  Voices,  2  Vio- 
lins, 2  Trumpets,  Kettle-drums,  Bass, 
and  Organ.  C  major.  339,  Vesperse 
solennes  de  confessore  for  4  Voices,  2 
Violins,  Bassoon,  2  Trumpets,  3  Trom- 
bones, Kettle-drums,  Bass,  and  Organ. 
C  major.  Sacred  Vocal  Works  with 
Orchestral  Accompaniment :  33,  Kyrie 
for  4  Voices;  89,  Kyrie  for  5  Sops.; 
322,  Kyrie  for  4  Voices,  2  Violins, 
Viola,  Bass,  2  Hautboys,  2  Horns,  2 
Trumpets,  Kettle-drums,  2  Bassoons, 
Organ;  323,  Kyrie  for  4  Voices,  2  Vio- 
lins, Viola,  Bass,  2  Hautboys,  2  Bas- 
soons, Trumpets,  Kettle-drums,  and 
Organ;  341,  Kyrie  for  4  Voices,  2  Vio- 
lins, Viola,  Bass,  2  Flutes,  2  Haut- 
boys, 2  Clarinets,  2  Horns,  2  Bassoons, 
2  Trumpets,  Kettle-drums,  and  Organ; 
20,  Madrigal  for  4  Voices,  "  God  is 
our  Refuge"  (without  accomp.)  ;  47, 
"  Veni  Sancte  Spiritus  "  for  4  Voices, 
2  Violins,  Viola,  2  Hautboys,  2  Horns, 
Trumpets,  Kettle-drums,  Bass,  and 
Organ;  85,  " Miserere  "  for  Alt.,  Ten., 
and  Bass,  with  figured  Bass  for  Organ; 
86,  Antiphon  "  Quserite  primum  reg- 
num  Dei"  for  Sop.,  Con.,  Ten.,  and 
Bass;  108,  Regina  Coeli  for  4  Voices, 
with  2  Violins,  Viola,  Bass,  2  Haut- 
boys, 2  Horns,  Trumpets,  and  Kettle- 
drums ;  127,  Regina  Cceli  for  4  Voices, 
2  Violins,  Viola,  Bass,  2  Hautboys,  2 
Horns ;  276,  Regina  Coeli  for  4  Voices, 
2  Violins,  Bass,  2  Hautboys,  Kettle- 
drums, Trumpets,  Organ;  141,  Te 
Deum  for  4  Voices,  2  Violins,  Bass, 
and  Organ;    142,  Tantum  ergo  for  4 


Voices,  2  Violins,  Viola,  2  Trumpets, 
Bass,  and  Organ;  197,  Tantum  ergo 
for  4  Voices,  2  Violins,  Viola,  2  Trum- 
pets, Bass,  and  Organ;  343,  Two  Ger- 
man Hymns  for  a  single  Voice,  with 
Organ;  34,  OfiFertorium  pro  festo  Stl 
Benedicti  "  Scande  coeli  "  for  4  Voices, 
2  Violins,  Trumpets,  Kettle-drums, 
Bass,  and  Organ;  72,  Offertorium  pro 
festo  Stl  Joannis  Baptistse  "  Inter 
natos  "  for  4  Voices,  2  Violins,  Bass, 
and  Organ ;  93,  Psalm  "  De  profun- 
dis"  (Ps.  129)  for  4  Voices,  2  Vio- 
lins, and  Organ;  117,  Offertorium  pro 
omni  tempore  for  4  Voices,  2  Violins, 
2  Violas,  2  Flutes,  2  Horns,  2  Trum- 
pets, Kettle-drums,  Bass,  and  Organ; 
143,  Aria  for  Sop.  "Ergo  interest." 
Accomp.:  2  Violins  and  Organ;  165, 
Motet  for  Sop.  "  Exultate,  jubilate." 
Accomp.:  2  Violins,  Viola,  Bass,  2 
Hautboys,  2  Horns;  177,  OfiFertorium 
sub  exposito  venerabili  for  Sop.  and 
Ten.  Accomp. :  2  Violins,  Viola,  Bass, 
2  Horns,  Organ;  198,  Offertorium  for 
Sop.  and  Ten.  Solo.  Accomp. :  2  Vio- 
lins, Viola,  Bass,  Organ;  222,  Offer- 
torium de  tempore  "  Misericordias 
Domini"  for  4  Voices,  2  Violins,  Viola, 
Bass,  2  Hautboys,  2  Horns,  Organ; 
260,  Offertorium  de  venerabili  sacra- 
mento for  8  Voices,  divided  into  2 
Choruses,  2  Violins  (ad  libitum), 
Bass,  Organ ;  273,  Graduale  ad  Festum 
B.  M.  V.  for  4  Voices,  2  Violins,  Viola, 
Bass,  and  Organ;  277,  Offertorium  de 
B.  M.  V.  for  4  Voices,  2  Violins,  Bass, 
Organ ;  326,  Hymnus  "  Justum  de- 
duxit  dominus  "  for  4  Voices  and  Or- 
gan; 327,  Hymnus  "  Adoramus  te" 
for  4  Voices  and  Organ;  618,  Motet 
"  Ave  verum  corpus  "  for  4  Voices,  2 
Violins,  Viola,  Bass,  and  Organ.  Can- 
tatas: 42,  Passion-Cantata  with  ac- 
comp. of  2  Violins,  Viola,  Bass,  and 
2  Horns;  471,  Masonic  Joy  "  Sehen, 
wie  dem  starren  Forscherauge."  Short 
Cantata  for  Ten.,  concluding  with  a 
short  Chorus;  623,  A  short  Masonic 
Cantata.  "Laut  verkunde  unsre 
Freude  "  for  2  Tenors,  1  Bass,  2  Vio- 
lins, Viola,  Bass,  1  Flute,  2  Hautboys, 
2  Horns.  Oratorios:  118,  La  Betulia 
Liberata,  Italian  Oratorio.  469,  Da- 
vidde  penitente.  Cantata  for  3  Solo- 
Voices,  Chorus,  and  Orchestra.  Operas; 


UOZABT 


413 


MOZABT 


35,  "  Bie  Schuldigkeit  des  ersten  Ge- 
botes "  (the  observance  of  the  First 
Commandinent),  religious  play  in  3 
Parts  (the  first  Part  by  Mozart 
with  German  words).  38,  Apollo 
et  Hyacinthus.  Latin  Comedy 
(Latin  words).  50,  Bastien  and  Bas- 
tienne.  Little  Opera  in  one  act  (Ger- 
man words).  51,  La  finta  semplice. 
Opera  bouffe  in  3  acts  (Italian  words). 
87,  Mitridate,  R6  di  Ponto.  Opera 
in  3  acts  (Italian  words).  Ill,  As- 
canio  in  Alba,  Theatrical  Serenade 
in  2  acts  (Italian  words).  126,  II 
Sogno  di  Scipione,  Dramatic  Sere- 
nade in  one  act  (Italian  words).  135, 
Lucio  Silla.  Drama  with  music  in  3 
acts  (Italian  words).  196,  La  finta 
Giardiniera.  Opera  bouffe  in  3  acts 
(Gferman  and  Italian  words).  208,  II 
E6  Pastore.  Dramatic  Piece  for  a  fes- 
tival in  2  acts  (Italian  words).  344, 
Zaide.  Little  Opera  in  2  acta  (Ger- 
man words).  345,  Thames,  King  of 
Egypt.  Heroic  Drama :  Choruses  and 
incidental    music     (German    words). 

366,  Idomeneo,  R6  di  Greta,  ossia: 
Ilia  e  Idamante.  Grand  Opera  in  3 
acts     (German    and    Italian    words). 

367,  Ballet-Music  to  the  opera  of  "  Ido- 
meneo." 384,  "Die  Entfuhrung  aus 
dem  Serail "  (The  Elopement  from  the 
Seraglio).  Comic  opera  in  3  acts 
(German  words).  486,  "Der  Schau- 
spieldirector "  (Theatrical  Manager). 
Comedy  with  music  in  1  act  (German 
words) .  492,  Le  Nozze  di  Figaro  (The . 
Wedding  of  Figaro).  Opera  bouffe  in 
4  acts  (German  and  Italian  words). 
527,  "II  dissoluto  punito,  ossia:  II 
Don  Giovanni."    Opera  bouffe  in  2  acts 

(German  and  Italian  words).  588, 
Cosl  fan  tutte  (So  they  all  do)  "Wei- 
bertreue."  Opera  bouffe  in  2  acts 
(Grerman  and  Italian  words).  620, 
"  Die  Zauberflote."  ( The  Magic  Flute. ) 
German  opera  in  2  acts.  621,  "  La  Cle- 
menza  di  Tito."  Grand  Opera  in  2  acts 
(German  and  Italian  words).  Ariaa, 
Duets,  Trios,  and  Quartets  with,  Or- 
chestral Accompaniment:  21,  Aria  for 
Ten.  "Va,  dal  furor  portata."  Ac- 
comp. :  2  Violins,  Viola,  Bass,  2  Haut- 
boys, 2  Horns,  2  Bassoons.  23,  Aria 
for  Sop.  "  Conservati  fedele."  Ac- 
comp.:    2  Violins,  Viola,   and   Bass, 


36,  Recitative  and  Aria  (Licenza)  for 
Ten.  "  Or  che  il  dover."  Accomp. :  2 
Violins,  Viola,  Bass,  2  Hautboys,  2 
Horns,  2  Bassoons,  2  Trumpets,  Kettle- 
drums. 70,  Recitative  and  Aria  (Li- 
cenza) for  Sop.  "A  Berenice,"  "Sol 
nascente."  Accomp. :  2  Violins,  Viola, 
Bass,  2  Hautboys,  2  Trumpets.  77, 
Recitative  and  Aria  for  Sop.  "  Misero 
me,"  "Misero  pargoletto."  Accomp.: 
2  Violins,  Viola,  Bass,  2  Hautboys,  2 
Bassoons,  2  Horns.  78,  Aria  for  Sop. 
"Per  pieta.  bel  idol  mio."  Accomp.: 
2  Violins,  Viola,  Bass,  2  Hautboys,  2 
Horns.  79,  Recitative  and  Aria  for 
Sop.  "0  temerario  Arbace."  Accomp.: 
2  Violins,  2  Violas,  Bass,  2  Hautboys, 
2  Horns,  2  Bassoons.  83,  Aria  for 
Sop.  " Se  tutti  i  mali  miei."  Accomp.: 
2  violins,  Viola,  Bass,  2  Hautboys,  2 
Trumpets.  88,  Aria  for  Sop.  "Fra 
cento  affanni."  Accomp.:  2  Violins, 
2  Violas,  Bass,  2  Hautboys',  2  Horns, 
2  Trumpets.  146,  Aria  for  Sop. 
"  Kommt  her,  ihr  frechen  Sunder." 
Accomp.:  2  Violins,  Viola,  Bass,  Or- 
gan. 209,  Aria  for  Ten.  "  Si  mostra 
la  sorte."  Accomp.:  2  Violins,  Viola, 
Bass,  2  Flutes,  2  Horns.  210,  Aria  for 
Ten.  "  Con  ossequio,  con  rispetto." 
Accomp.:  2  Violins,  Viola,  Bass,  2 
Hautboys,  2  Horns.  217,  Aria  for  Sop. 
"  Voi  avete  un  cor  fedele."  Same  ac- 
comp. 255,  Recitative  and  Concert- 
Aria  for  Alto.  "  Ombra  felice."  "  lo 
ti  lascio."  Same  accomp.  256,  Aria 
for  Ten.  "Clarice,  cara  mia  sposa." 
Same  accomp.  272,  Scene  for  Sop. 
"  Ah,  lo  previdi."  "  Ah,  t'invola  agli 
occhi  miei."  294,  Recitative  and  Aria 
for  Sop.  "Alcandro  lo  confesso."  "Non 
so  donde  viene."  Accomp. :  2  Violins, 
Viola,  Bass,  2  Flutes,  2  Clarinets,  2 
Bassoons,  and  2  Horns.  295,  Aria  for 
Ten.  "Se  al  labbro  mio  non  credi."  "II 
cor  dolente."  Accomp.:  2  Violins,  Vi- 
ola, Bass,  2  Flutes,  2  Hautboys,  2  Bas- 
soons, and  2  Horns.  316,  Recitative 
and  Aria  for  Sop.  "Popoli  di  Tes- 
saglia."  "  lo  non  chiedo."  Accomp. : 
2  Violins,  Viola,  Bass,  2  Horns,  with 
Hautboy  and  Bassoon  obbligato.  368, 
Recitative  and  Aria  for  Sop.  "  Ma  che 
vi  fece."  "  Sperai  vicino  il  lido." 
Accomp.;  2  Violins,  Viola,  Bass,  2 
Flutes,  8  Bassoons,  and  2  Horns.    369, 


MOZART  414 

Scene  and  Aria  for  Sop.  "  Misera, 
dove  son  ?  "  "  Ah  non  son  io."  Ac- 
comp. :  2  Violins,  Viola,  Bass,  2  Flutes, 
and  2  Horns.  374,  Recitative  and  Aria 
for  Sop.  "  Ah  questo  seno."  "  Or  che 
il  cielo  a  me  ti  rende."  Accomp. :  2 
Violins,  Viola,  Bass,  2  Hautboys,  and 
2  Horns.  383,  Aria  for  Sop.  "  Nehmt 
meinen  Dank."  Accomp.:  2  Violins, 
Viola,  Bass,  Flute,  Hautboy,  and  Bas- 
soon. 416,  Scene  and  Kondo  for  Sop. 
"  Mia  speranza."  "  Ah  non  sai,  qual 
pena."  Accomp.:  2  Violins,  Viola, 
Bass,  2  Bassoons,  2  Hautboys,  and  2 
Horns.  418,  Aria  for  Sop.  "  Vorrei 
spiegarvi."  "Ah  Conte,  partite."  Same 
accomp.  419,  Aria  for  Sop.  "  No,  no, 
che  non  sei  capaee."  Accomp.:  2  Vio- 
lins, Viola,  Bass,  2  Hautboys,  2  Horns, 
2  Trumpets,  and  Kettle-drums.  420, 
Bondo  for  Ten.  "  Per  Pieta.,  non  ri- 
cercate."  Accomp.:  2  Violins,  Viola, 
Bass,  2  Clarinets,  2  Horns,  and  2  Bas- 
soons. 431,  Recitative  and  Aria  for 
Ten.  "  Misero,  o  sogno !  "  "  Aura, 
che  intorno."  Accomp.:  2  Violins, 
Viola,  Bass,  2  Flutes,  2  Bassoons,  and 
2  Horns.  432,  Recitative  and  Aria  for 
Bass.  "  Cosl  dunque  tradiaci."  "Aspri 
rimorsi  atroci."  Accomp.:  2  Violins, 
Viola,  Bass,  2  Flutes,  2  Hautboys,  2 
Bassoons,  and  2  Horns.  436,  Trio  for 
2  Sops,  and  Bass.  "  Ecco,  quel  fiero." 
With  accomp.  of  3  Basset  horns.  437, 
Trio  for  2  Sops,  and  Bass.  "Mi  lag- 
nerd  taoendo."  Accomp. :  2  Clarinets 
and  1  Basset  horn.  479,  Quartet  for 
Sop.,  Ten.,  and  2  Basses.  "Dite  al- 
meno,  in  che  mancai."  Accomp. :  2 
Violins,  Viola,  Bass,  2  Hautboys,  2 
Clarinets,  2  Horns,  and  2  Bassoons. 
480,  Trio  for  Sop.,  Ten.,  and  Bass. 
"  Mandina  amabile."  Accomp. :  2  Vio- 
lins, Viola,  Bass,  2  Flutes,  2  Hautboys, 
2  Clarinets,  2  Bassoons,  and  2  Horns. 
505,  Recitative  and  Rondo.  "  Ch'io 
mi  scordi."  "  Non  temer  araato  bene  " 
for  Sop.,  with  obbligato  Pianoforte  ac- 
comp. Same  accomp.  512,  Recitative 
and  Aria  for  Bass.  "Alcandro  lo,  con- 
feaso."  "  Non  so  donde  viene."  Ac- 
comp.: 2  Violins,  Viola,  Bass,  Flute, 
2  Hautboys,  2  Bassoons,  and  2  Horns. 
513,  Aria  for  Bass.  "  Mentre  ti  lascio, 
o  figlia."  Accomp.:  2  Violins,  Viola, 
Bass,  Flute,  2  Clarinets,  2  Bassoons, 


MOZABT 


and  2  Horns.  528,  Recitative  and  Aria 
for  Sop.  "  Bella  mia  flamma."  "  Reata, 
o  cara."  Accomp.:  2  Violins,  Viola, 
Bass,  Flute,  2  Hautboys,  2  Bassoons, 
and  2  Horns.  538,  Aria  for  Sop.  "Ah, 
se  in  ciel."  Accomp. :  2  Violins,  Viola, 
Bass,  2  Hautboys,  2  Bassoons,  and  2 
Horns.  539,  A  German  War-song. 
"  Ich  mochte  wohl  der  Kaiser  sein." 
Accomp.:  2  Violins,  Viola,  Bass,  2 
Hautboys,  2  Bassoons,  2  Piccolos,  2 
Horns,  Big  Drum,  and  Cymbals.  541, 
Arietta  for  Bass.  "Un  baccio  di  mano." 
Accomp. :  2  Violins,  Viola,  Bass,  Flute, 

2  Hautboys,  2  Bassoons,  and  2  Horns. 
549,  Canzonet.  "  Piil  non  si  trovano." 
For  2  Sops,  and  Bass  with  accomp.  of 

3  Basset  horns.  578,  Aria  for  Sop. 
"Alma  grande  e  nobil  core."  Accomp. : 
2  Violins,  Viola,  2  Hautboys,  2  Bas- 
soons, 2  Horns,  and  2  Bass.  582,  Aria 
for  Sop.  "  Chi  sa,  chi  sk,  qual  aia." 
Accomp.:  2  Violins,  Viola,  Basa,  2 
Clarinets,  2  Bassoons,  and  2  Horns. 
583,  Aria  for  Sop.  "Vado,  ma  dove? 
—  oh  Dio !  "  Accomp. :  2  Violins, 
Viola,  Bass,  2  Clarinets,  2  Baaaoona, 
and  2  Horns.  584,  Aria  for  Baas. 
"  Rivolgete  a  lui  lo  sguardo."  Ac- 
comp. :  2  Violins,  Viola,  Basa,  2  Haut- 
boys, 2  Bassoons,  2  Trumpets,  and 
Kettle-drums.  612,  Aria  for  Baas. 
"Per  queata  bella  mano."  With  double 
basa  obbligato,  2  Violins,  Viola,  Flute, 
2  Hautboys,  and  2  Horns.  625,  Comic 
Duet  for  Sop.  and  Bass.  "  Nun  liebes 
Weibchen,  ziehst  mit  mir."  Accomp.: 
2  Violins,  Viola,  Baas,  Flute,  2  haut- 
boys, 2  Bassoons,  and  2  Horns.  Songs 
for  one  and  more  Voices,  with 
Piano  Accompaniment:  52,  "Daphne, 
deine  Rosenwangen."  53,  To  Joy. 
"  Freude,  Konigin  der  Weisen."  147, 
"  Wie  unglueklich  bin  ich  nit."  148, 
"O  heiliges  Band."  149,  Magnanimous 
tranquillity.  "  Ich  hab  es  langst  ge- 
sagt."  150,  "Was  ich  in  Gedanken." 
151,  Contentment  in  lowly  station. 
"  Ich  trachte  nicht  nach  solchen 
Dingen."  152,  Ridente  la  calma.  "Der 
Sylphe  des  Friedens."  307,  Oiaeaux, 
si  tous  les  ana.  "  Wohl  lauscht  ein 
VSglein."  308,  Dans  un  bois  solitaire. 
"  Einsam  ging  ich  jiingst."  349,  Con- 
tentedness.  "  Was  frag'  ich  viel  naoh 
Geld    und    Gut."      350,   Cradle-Song. 


SEOZART 


415 


KOZABT 


"Schlafe,  mein  Prinzchen,  nur  ein." 
351,  "Komm,  liebe  Zither."  (For  Sop. 
with  Mandolin  accomp. )  390,  To  Hope. 
"  Ich  wurd'  auf  meinem  Pfade."  391, 
To  Solitude.  "  Sei  du  mein  Trost." 
392,  "Verdankt  sei  es  dem  Glanze." 
441,  Das  Bandel (The  ribbon).  "Liebes 
Mandel,  wo  is's  Bandel."  Humorous 
Trio  for  Sop.,  Ten.,  and  Bass.  468, 
Masonic  Song.  "  Die  ihr  einem  neuen 
Grade."  472,  The  Enchanter.  "Ihr 
Madchen  flieht  Damiiten  ja!  "  473, 
Contentment.  "  Wie  sanft,  wie  ruhig 
fuhl'  ich  hier."  474,  The  Deceived 
World.  "Der  reiche  Thor,  mit  Gold 
geschmucket."  476,  The  Violet.  "Ein 
Veilchen  auf  der  Wiese  stand."  483, 
Song  with  Chorus  and  Organ  accomp. 
"  Zerfliesset  heut,  geliebte  Bruder." 
484,  Three-part  Song  for  Chorus  and 
Organ  accomp.  "  Ihr  unsre  neuen 
Leiter."  506,  Song  of  Liberty.  "  Wer 
imter  eines  Madchens  Hand."  517, 
"Die  Alte"  (The  Grandam).  "  Zu 
meiner  Zeit."  518,  "  Die  Versohwei- 
gung"  (The  Secret).  "  Sobald  Da- 
moetas  Chlcen  sieht."  519,  Separation 
and  Re-union.  "Die  Engel  Gtottes 
weinen."  520,  Louisa  burning  the  let- 
ters of  her  faithless  lover.  "  Erzeugt 
von  heisser  Phantasie."  523,  Abend- 
empfindung  ( Evening  reverie ) .  "Abend 
ist's."  524,  To  Chloe.  "  Wenn  die  Lieb 
aus  deinen."  529,  On  the  Birthday  of 
Fritz.  "  Es  war  einmal,  ihr  Leute  " 
(Einst  lebte,  so  erzahlet).  530,  The 
Dream.  "Wo  bist  du,  Bild?"  531, 
The  little  Spinning-girl.  "Was  spinnst 
du,  fragte."  532,  Trio  for  Sop.,  Ten., 
and  Bass.  "  Grazie  agl'  inganni  tuoi." 
Accomp.:  Flute,  2  Clarinets,  2  Horns, 
2  Bassoons,  Bass.  579,  Un  moto  di 
gioja.  "  Schon  klopfet  mein  liebender." 
596,  Longing  for  Spring.  "Komm, 
lieber  Mai."  597,  In  early  Spring. 
"  Erwacht  zu  neuem  Leben."  598, 
Children's  Song  (Das  Kinderspiel). 
"  Wir  Kinder,  wir  schmecken."  619, 
A  little  German  Cantata.  "  Die  ihr 
des  Unermesslichen."  Canons:  228, 
"Ach  zu  kurz  ist  unser  Lebenslauf." 
For  4  Voices.  229,  "  Sie  ist  dahin." 
For  3  Voices.  230,  "  Selig,  selig  alle." 
For  2  Voices.  231,  "Last  froh  uns 
aein."  L.  m.  i.  a.  For  6  Voices.  232, 
"Wer  nicht  liebt  Wein  und  Weiber." 


"Lieber  Freistadtler,  lieber  Ganli- 
mauli."  For  4  Voices.  233,  "  Nichts 
labt  mich  mehr  als  Wein."  "  L.  m.  d. 
a.  r.  s."  For  3  Voices.  234,  "  Essen, 
Trinken,  das  erhalt."  "  Bei  der  Hitz' 
im  Sommer  ess'  ich."  For  3  Voices. 
347,  "  Wo  der  perlende  Wein  im  Glase 
blinkt."  For  6  Voices.  348,  "  V'amo 
di  core  teneramente."  For  3  Choruses 
in  4  parts  each.  507,  "  Heiterkeit  und 
leiehtes  Blut."  For  2  Sops,  and  Ten. 
508,  "Auf  das  Wohl  aller  Freunde." 
For  3  Voices.  553,  "  AUeluja."  For 
4  Voices.  554,  "Ave  Maria."  For  4 
Voices.  555,  "  Lacrimoso  son  io." 
"Ach  zum  Jammer  bin  ich."  For  4 
Voices.  556,  "Grechtelt's  eng."  "AUes 
Fleisch."  For  4  Voices.  557,  "  Nas- 
coso  6  il  mio  sol."  For  4  Voices.  558, 
"  Gehn  ma  in'n  Prada,  gehn  ma  in 
d'  Hetz."  "AUes  ist  eitel."  For  4 
Voices.  559,  Difficile  lectu  mihi  Mars. 
"  Nimm,  ist's  gleich  warm."  For  3 
Voices.  560,  "  O  du  eselhafter  Mar- 
tin." "  Gahnst  du,  Fauler,  du  schon 
wieder."  For  4  Voices.  560,  "0  du 
eselhafter  Peierl."  For  4  Voices. 
561,  "  Bona  nox,  bist  a  rechta  Ox." 
"  Gute  Naeht,  bis  der  Tag  erwacht." 
For  4  Voices.  562,  Caro  bel  idol  mio. 
"  Ach  stlsses,  theures  Leben."  For  3 
Voices.  Orchestral  Works.  Sym- 
phonies: 16,  Symphony  for  2  Violins, 
Viola,  Bass,  2  Hautboys,  2  Horns.  E 
flat  major.  17,  Symphony  for  2  Vio- 
lins, Viola,  Bass,  2  Hautboys,  2  Horns. 
B  flat  major.  18,  Symphony  for  2  Vio- 
lins, Viola,  Bass,  2  Clarinets,  2  Horns, 
Bassoon.  E  flat  major.  19,  Symphony 
for  2  Violins,  Viola,  Bass,  2  Hautboys, 
2  Horns.  D  major.  22,  Symphony  for 
2  Violins,  Viola,  Bass,  2  Hautboys,  2 
Horns.  B  flat  major.  43,  Symphony 
for  2  Violins,  2  Violas,  Bass,  2  Haut- 
boys, 2  Horns.  F  major.  45,  Sym- 
phony for  2  Violins,  Viola,  Bass,  2 
Hautboys,  2  Horns,  Trumpets,  and 
Kettle-drums.  D  major.  48,  Sym- 
phony for  2  Violins,  Viola,  Bass,  2 
Hautboys,  2  Horns,  Trumpets,  and 
Kettle-drums.  D  major.  73,  Sym- 
phony for  2  Violins,  Viola,  Bass,  2 
Hautboys,  2  Horns,  Trumpets,  and 
Kettle-drums.  C  major.  74,  Sym- 
phony for  2  Violins,  Viola,  Bass,  2 
Hautboys,  2  Horns.     G  major.     84, 


UOZABT 


416 


arozABT 


Symphony  for  2  Violins,  2  Violas, 
Bass,  2  Hautboys,  2  Horns.  D  major. 
110,  Symphony  for  2  Violins,  Viola, 
Bass,  2  Hautboys,  2  Horns.  The  An- 
dante has  2  Flutes  and  2  Bassoons. 
G  major.  112,  Symphony  for  2  Vio- 
lins, Viola,  Bass,  2  Hautboys,  2  Horns. 
F  major.  114,  Symphony  for  2  Vio- 
lins, Viola,  Bass,  2  Flutes,  2  Horns. 
A  major.  124,  Symphony  for  2  Vio- 
lins, Viola,  Bass,  2  Hautboys,  2  Horns. 
G  major.  128,  Symphony  for  2  Vio- 
lins, Viola,  Bass,  2  Hautboys,  2  Horns. 
C  major.  129,  Symphony  for  2  Vio- 
lins, Viola,  Bass,  2  Hautboys,  2  Horns. 
G  major.  130,  Symphony  for  2  Vio- 
lins, Viola,  Bass,  2  Flutes,  2  Horns  in 
F,  2  Horns  in  C.  F  major.  132,  Sym- 
phony for  2  Violins,  2  Violas,  Bass,  2 
Hautboys,  4  Horns  in  B  flat.  E  flat 
major.  133,  Symphony  for  2  Violins, 
Viola,  Bass,  2  Hautboys,  2  Horns, 
Trumpets.  The  Andante  with  Flute 
obbligato.  D  major.  134,  Symphony 
for  2  Violins,  Viola,  Bass,  2  Flutes, 
2  Horns.  A  major.  162,  Symphony 
for  2  Violins,  2  Violas,  2  Hautboys,  2 
Horns,  2  Trumpets,  Basses.  C  major. 
181,  Symphony  for  2  Violins,  2  Violas, 
Bass,  2  Hautboys,  2  Horns,  2  Trum- 
pets. D  major.  182,  Symphony  for 
2  Violins,  2  Violas,  Bass,  2  Hautboys, 
2  Horns.  B  flat  major.  183,  Sym- 
phony for  2  Violins,  2  Violas,  Bass,  2 
Hautboys,  2  Horns  in  G  and  2  Horns 
in  B,  2  Bassoons.  G  minor.  184,  Sym- 
phony for  2  Violins,  2  Violas,  Bass,  2 
Flutes,  2  Hautboys,  2  Bassoons,  2 
Horns,   2   Trumpets.     E   flat   major. 

199,  Symphony  for  2  Violins,  2  Violas, 
Bass,  2  Flutes,  2  Horns.     G  major. 

200,  Symphony  for  2  Violins,  Viola, 
Bass,  2  Hautboys,  2  Horns,  2  Bassoons, 
2  Trumpets.  C  major.  201,  Sym- 
phony for  2  Violins,  2  Violas,  Bass, 
2  Hautboys,  2  Horns.  A  major.  202, 
Symphony  for  2  Violins,  Viola,  Bass, 
2  Hautboys,  2  Horns,  2  Trumpets.  D 
major.  297,  Symphony  (Paris)  for  2 
Violins,  Viola,  Bass,  2  Flutes,  2  Haut- 
boys, 2  Clarinets,  2  Bassoons,  2  Horns, 
2  Trumpets  and  Kettle-drums.  D 
major.  318,  Symphony  for  2  Violins, 
Viola,  Bass,  2  Flutes,  2  Hautboys,  2 
Bassoons,  4  Horns,  2  Trumpets.  G 
major.    319,  Symphony  for  2  Violins, 


Viola,  Bass,  2  Hautboys,  2  Bassoons, 
2  Horns.  B  flat  major.  338,  Sym- 
phony for  2  Violins,  Viola,  Bass,  2 
Hautboys,  2  Bassoons,  2  Horns, 
Trumpets,  and  Kettle-drums.  C  ma- 
jor. 385,  Symphony  for  2  Violins, 
Viola,  Bass,  2  Hautboys,  2  Horns, 
2  Bassoons,  Trumpets  and  Kettle- 
drums. D  major.  425,  Symphony 
for  2  Violins,  Viola,  Bass,  2  Hautboys, 
2  Horns,  2  Bassoons,  Trumpets,  and 
Kettle-drums.  C  major.  444,  Sym- 
phony for  2  Violins,  Viola,  Bass,  2 
Hautboys,  2  Horns.  The  Andante  has 
in  addition  a  Flute.  G  major.  504, 
SjTnphony  for  2  Violins,  Viola,  Bass, 
2  Flutes,  2  Hautboys,  2  Bassoons,  2 
Horns,  Trumpets,  and  Kettle-drums. 
Without  Minuet.  D  major.  543,  Sym- 
phony for  2  Violins,  Viola,  Bass,  Flute, 
2  Clarinets,  2  Bassoons,  2  Horns,  2 
Trumpets,  and  Kettle-drums.  B  flat 
major.  550,  Symphony  for  2  Violins, 
Viola,  Bass,  Flute,  2  Hautboys,  2  Bas- 
soons, 2  Horns,  2  Trumpets,  and  Kettle- 
drums. G  minor.  551,  Symphony  with 
Fugue  (Jupiter)  for  2  Violins,  Viola, 
Bass,  Flute,  2  Hautboys,  2  Bassoons,  2 
Horns,  2  Trumpets,  and  Kettle-druma. 
C  major.  Cassaziones,  Serenades,  and 
Divertimentos  for  Orchestra:  63,  Gas- 
sazione  for  2  Violins,  2  Violas,  Bass, 
2  Hautboys,  2  Horns.  G  major.  99, 
Cassazione  for  2  Violins,  Viola,  Bass, 
2  Hautboys,  2  Horns.  B  flat  major. 
100,  Serenade  for  2  Violins,  Viola, 
Bass,  2  Hautboys  (2  Flutes),  2  Horns, 
2  Trumpets.  D  major.  101,  Serenade 
for  2  Violins  and  Bass,  2  Hautboys,  2 
Horns,  Flute,  Bassoon.  F  major.  185, 
Serenade  for  2  Violins,  Viola,  Bass,  2 
Hautboys  (2  Flutes),  2  Horns,  2 
Trumpets.  D  major.  203,  Serenade 
for  2  Violins,  Viola,  Bass,  2  Haut- 
boys, 2  Flutes,  Bassoon,  2  Horns,  2 
Trumpets.  D  major.  204,  Serenade 
for  2  Violins,  Viola,  Bass,  2  Hautboys 
(2  Flutes),  2  Horns,  Bassoon,  2  Trum- 
pets. D  major.  239,  Serenade  (for  2 
small  orchestras)  for  2  Principal  Vio- 
lins, Viola,  Double  Bass,  and  2  Violins, 
Viola,  Violoncello,  Kettle-drums.  D 
major.  250,  Serenade  (Haffner)  for  2 
Violins,  Viola,  Bass,  2  Hautboys  (2 
Flutes),  2  Horns,  2  Bassoons,  2  Trum- 
pets.   D  major,    286,  Notturno  for  4 


IXOZABT 


417 


UOZABpT 


orchestras:   4  sets  of  2  Violins,  Viola,  Organ):    189,  March  for  2  Violins, 

Bass,  and  2  Horns  each.     D  major.  Bass,  2  Flutes,  2  Horns,  2  Trumpete. 

320,   Serenade   for   2   Violins,   Viola,  D  major.     214,  March  for  2  Violins, 

Bass,  2  Flutes    (Flautino),  2  Haut-  Viola,  Bass,  2  Hautboys,  2  Horns,  2 

boys,  2  Bassoons,  2  Horns  (Posthorn),  Trumpets.    C  major.    215,  March  for 

2    Trumpets,    and    Kettle-drums.      D  2  Violins,  Viola,  Bass,  2  Hautboys,  2 

major.    361,  Serenade  for  2  Hautboys,  Horns,  2  Trumpets.     D  major.     237, 

2  Clarinets,  2  Basset  horns,  4  French  March  for  2  Violins,  Bass,  2  Hautboys, 

horns,  2  Bassoons,  Double  Bassoon  or  2  Bassoons,  2  Horns,  2  Trumpets.    D 

Double  Bass.    B  flat  major.    375,  Sere-  major.    248,  March  for  2  Violins  (obbli- 

nade  for  2  Hautboys,  2  Clarinets,  2  gato),  Viola,  Bass,  2  Horns.    F  major. 

Horns,  2  Bassoons.  B  flat  major.  388,  249,  March    (Haffner)   for  2  Violins, 

Serenade  for  2  Hautboys,  2  Clarinets,  Viola,  Bass,  2  Hautboys,  2  Bassoons, 

2  Horns,  2  Bassoons.    C  minor.     113,  2  Horns,  2  Trumpets.    D  major.    290, 

Divertimento    for    2    Violins,    Viola,  March    for    Violin,    Viola,    Bass, ,  2 

Bass,  2  Hautboys,  2  Clarinets,  2  Eng-  Horns.    D  major.    335,  2  Marches  for 

lish  Horns,  2  Horns,  and  2  Bassoons.  2  Violins,  2  Violas,  Bass,  2  Flutes,  2 

E  flat  major.     131,  Divertimento  for  Hautboys,  2  Horns,  2  Trumpets.     D 

2  Violins,  Viola,  Bass,  Flute,  Hautboy,  major,  D  major.    408,  3  Marches  for 

Bassoon,  4  Horns.    D  major.    166,  Di-  2  Violins,  Viola,  Bass,  2  Hautboys, 

vertimento  for  2  Hautboys,  2  Clari-  2  Trumpets.     C  major,  D  major,  C 

nets,  2  English  Horns,  2  Horns,  and  2  major.     121  Final  Allegro  of  a  Sym- 

Bassoons.    E  flat  major.    186,  Diverti-  phony  for  2  Violins,  Viola,  Bass,  2 

mento  for  2  Hautboys,  2  Clarinets, -2  Hautboys,  2  Horns.     D  major.     409, 

English  Horns,  2  Horns,  and  2  Bas-  Minuet  (Middle  part  of  a  Symphony) 

soons.     B   flat  major.     187,  Diverti-  for  2  Violins,  Viola,  Bass,  2  Flutes,  2 

mento  for  2  Flutes,  3  Trumpets  in  C,  Hautboys,    2    Bassoons,    2    Horns,    2 

2  Trumpets  in  D,  and  4  Kettle-drums  Trumpets,  and  Kettle-drums.  C  major, 

in  C,  Gr,  and  D,  A.    C  major.    188,  Di-  477,    Masonic    Dirge    for    2    Violins, 

vertimento  for  2  Flutes,  3  Trumpets  Viola,  Bass,  1  Clarinet,  1  Basset  horn, 

in  C,  2  Trumpets  in  D,  and  4  Kettle-  2   Hautboys,   Double  bassoon,   and  2 

drums  in  C,  G,  and  D,  A.     C  major.  Horns.      C   minor.    '522,    A   musical 

205,  Divertimento   for  Violin,  Viola,  Joke     (Rustic    Symphony    or    "The 

Bassoon,   Bass,   2   Horns.     D  major.  Country  Musicians")    for  2  Violins, 

213,  Divertimento  for  2  Hautboys,  2  Viola,  Bass,  2  Horns.    F  major.    292, 

Horns,  2   Bassoons.     F  major.     240,  Sonata  for  Bassoon  and  Violoncello. 

Divertimento  for  2  Hautboys,  2  Horns,  B  flat  major.    410,  Short  Adagio  for  2 

2  Bassoons.     B  flat  major.     247,  Di-  Basset  horns  and  Bassoon.    F  major, 

vertimento    for    2    Violins,    Viola,    2  411,  Adagio  for  2  Clarinets  and  3  Bas- 

Homs,  Bass.    F  major.    251,  Diverti-  set  horns.    B  flat  major.    356,  Adagio 

mento  for  Hautboy,  2  Violins,  Viola,  for  Concertina.  C  major.   617,  Adagio 

Bass,  2  Horns.    D  major.    252,  Diver-  and    Rondo    for    Concertina,    Flute, 

timento  for  2  Hautboys,  2  Horns,  2  Hautboy,  Viola,  and  Violoncello.     C 

Bassoons.    E  flat  major.    253,  Diverti-  minor.     608,  Fantasia.     A  Piece  for 

mento  for  2  Hautboys,  2  Horns,  2  Bas-  Clockwork.     F  minor.     616,  Andante 

Boons.     P  major.     270,  Divertimento  for  a  small  Barrel-Organ.     F  major, 

for  2  Hautboys,  2  Horns,  2  Bassoons.  445,  March  for  2  Violins,  Viola,  Bass, 

B  flat  major.     287,  Divertimento  for  and  2  Horns.     F  major.     Dances  for 

2  Violins,  Viola,  Bass,  2  Horns.  B  flat  Orchestra:  568,  12  Minuets  for  2  Vio- 

major.    289,  Divertimento  for  2  Haut-  lins,  Bass,  2  Flutes,  2   Hautboys,  2 

boys,   2   Bassoons,   2   Horns.     E   flat  Clarinets,    2    Bassoons,    2    Horns,    2 

major.     334,  Divertimento  for  2  Vio-  Trumpets,  Kettle-drums,  Piccolo ;   585, 

lins,  Viola,  Bass,  2  Horns.    D  major.  12  Minuets  for  2  Violins,  2  Flutes,  2 

Marches,  Symphonic  Movements,  and  Hautboys,  2  Clarinets,  2  Bassoons,  2 

mvnor  Pieces  for  Orchestra  (also  for  Horns,     2     Trumpets,     Kettle-drums, 

Coneertina,    Clookwork,    and   Barrel-  Small  Flute,  and  Bass;    599,  6  Min- 

27 


MOZART  418  MOZART 

uets  for  2  Violins,  Bass,  2   Flutes,  and  Kettle-drums,  Large  Drum,  and 

Small  Flute,  2  Bassoons,  2  Clarinets,  Cymbals;     535,     Contra-Dance     (The 

2  Hautboys,  2  Horns,  2  Trumpets,  and  Battle)  for  2  Violins,  Bass,  Piccolo,  2 

Kettle-drums;    601,  4  Minuets  for  2  Clarinets,  Bassoon,  Trombone,  Drum; 

Violins,  Bass,  2  Flutes,  Small  Flute,  587,  Contra-Dance    ("The  Victory  of 

Lyre,  2  Bassoons,  2  Clarinets,  2  Haut-  the  hero  Coburg")  for  2  Violins,  Bass, 

boys,  2  Horns,  2  Trumpets,  and  Kettle-  Hautboy,  Flute,  Bassoon,  and  Trum- 

drums;    604,  2  Minuets  for  2  Violins,  pet;    603,  2  Contra-Dances  for  2  Vio- 

Bass,  2  Flutes,  2  Clarinets,  2  Bassoons,  lins,    Bass,    2    Hautboys,    Piccolo,   2 

2  Horns,  2  Trumpets,  Kettle-drums ;  Bassoons,  2  Horns,  2  Trumpets,  Kettle- 

509,  6  German  Dances  for  2  Violins,  drums;     609,    5    Contra-Dances    for 

Bass,  2  Flutes,  Piccolo,  2  Hautboys,  Flute,   2   Violins,   Bass,   and   Drum; 

2  Clarinets,  2  Bassoons,  2  Horns,  2  610,  Contra-Dance   ("Les  flUes  mali- 

Trumpets,  and  Kettle-drums;    536,  6  cieuses  ")for  2  Violins,  Bass,  2  Flutes, 

German  Dances  for  2  Violins,  Bass,  2  2  Horns.     Concertos  for  Stringed  or 

Flutes,  2  Hautboys,  2  Clarinets,  2  Bas-  TP'ijKJ-/«.s*rMnients  awd  Orchestra:  207, 

soons,  2  Horns,  2  Trumpets,  Kettle-  Concerto  for  Violin.    Accomp. :  2  Vio- 

drums.  Piccolo;  567,  6  German  Dances  lins,  Viola,  Bass,  2  Hautboys,  2  Horns, 

for  2  Violins,  Bass,  2  Flutes,  2  Haut-  B  flat  major.  211,  Concerto  for  Violin, 

boys,  2  Clarinets,  2  Bassoons,  2  Horns,  Accomp. :    2   Violins,   Viola,   Bass,  2 

2    Trumpets,    Kettle-drums,    Piccolo;  Hautboys,  2  Horns.     D  major.     216, 

571,  6  German  Dances  for  2  Violins,  Concerto  for  Violin.    Accomp.:  2  Vio- 

BasB,  2  Flutes,  2  Hautboys,  2  Clari-  lins,  Viola,  Bass,  2  Hautboys,  2  Horns, 

nets,  2  Bassoons,  2  Horns,  2  Trumpets,  G  major.     218,  Concerto  for  Violin. 

Kettle-drums,   Piccolo,   Cymbals,   and  Accomp.;    2   Violins,   Viola,   Bass,  2 

Tambourine;  586,  12  German  Dances  Hautboys,  2  Horns.     D  major.     219, 

for  2  Violins,  Bass,  2  Flutes,  Piccolo,  Concerto  for  Violin.    Accomp.:  2  Vio- 

2  Bassoons,  2  Hautboys,  2  Clarinets,  lins,  Viola,  Bass,  2  Hautboys,  2  Horns. 

2    Horns,    2    Trumpets,    and   Kettle-  A   major.      261,    Adagio   for   Violin, 

drums  (Tambourine);  600,  6  German  Accomp.:    2   Violins,   Viola,   Bass,   2 

Dances  for  2  Violins,  Bass,  2  Clarinets,  Flutes,  2  Horns.  E  major.  269,  Bondo 

2  Hautboys,  2  Flutes,  Piccolo,  2  Bas-  concertant   for   Violin.     Accomp.:    2 

soons,  2  Horns,  2  Trumpets,  and  Ket-  Violins,   Viola,   Bass,  2  Hautboys,  2 

tie-drums;  -602,  4  German  Dances  for  Horns.    B  flat  major.    373,  Rondo  for 

2  Violins,  Bass,  2  Flutes  (Piccolo),  2  Violin.     Accomp.:    2   Violins,   Viola, 

Horns,  2  Bassoons,  Lyre,  2  Clarinets,  Bass,  2  Hautboys,  2  Horns.    C  major. 

2  Hautboys,  2  Trumpets,  and  Kettle-  190,    Concertone    for   2    Solo-Violins, 

drums;    605,  3  German  Dances  for  2  Accomp.;  2  Violins,  2  Violas,  Bass,  2 

Violins,    Bass,    2    Flutes,    Piccolo,    2  Hautboys,  2  Horns,  2  Trumpets.     C 

Hautboys,  2  Clarinets,  2  Bassoons,  2  major.      364,    Concert-Symphony    for 

Horns,  2  Posthoms,  2  Trumpets,  Ket-  Violin  and  Viola.     Accomp.:   2  Vio- 

tle-drums,    and    Bells;    123,    Contra-  lins,   2  Violas,   Bass,  2  Hautboys,  2 

Dance  for  2  Violins,  Bass,  2  Hautboys,  Horns.     E  flat  major.     191,  Concerto 

and  2  Horns ;  267,  Four  Contra-Dances  for    Bassoon.      Accomp. :    2    Violins, 

for  2  Violins,  Bass,  1  Flute,  1  Bassoon,  Viola,  Bass,  2  Hautboys,  2  Horns.    B 

2  Hautboys,  2  Horns;   461,  5  Minuets  flat  major.     299,  Concerto  for  Flute 

for    2    Violins,    Bass,    2    Hautboys  and  Harp.    Accomp. :  2  Violins,  Viola, 

(Flutes),  2  Bassoons,  and  2  Horns;  Bass,  2  Hautboys,  2  Horns.    C  major. 

462,  6  Contra-Dances  for   2  Violins,  313,  Concerto  for  Flute.    Accomp.:  2 

Bass,  2  Hautboys,  and  2  Horns;   463,  Violins,  Viola,   Bass,   2  Hautboys,  2 

2    Minuets    with    interlaced    Contra-  Horns.     G  major.     314,  Concerto  for 

Dances  for  2  Violins,  Bass,  2  Haut-  Flute.     Accomp.:    2    Violins,    Viola, 

boys,   2   Horns,    1    Bassoon;     510,   9  Bass,  2  Hautboys,  2  Horns.    D  major. 

Contra-Dances  or  Quadrilles  for  2  Vio-  315,  Andante  for  Flute.     Accomp.:  2 

lins,  Bass,  2  Flutes,  2  Piccolos,  2  Haut-  Violins,  Viola,   Bass,   2  Hautboys,  2 

boys,  2  Clarinets,  2  Horns,  2  Trumpets,  Horns.     C  major.    412,  Concerto  for 


ICOZABT 


419 


HOZABT 


Horn.  Aeoomp.;  2  Violins,  Viola, 
Baas,  2  Hautboys,  2  Bassoons.  D 
major.  417,  Concerto  for  Horn.  Ac- 
comp. :  2  Violins,  Viola,  Bass,  2  Haut- 
boys, 2  Horns.  E  flat  major.  447, 
Concerto  for  Horn.  Aecomp.:  2  Vio- 
lins, Viola,  Bass,  2  Clarinets,  2  Bas- 
soons. E  flat  major.  495,  Concerto 
for  Horn.  Aecomp. :  2  Violins,  Viola, 
Bass,  2  Hautboys,  2  Horns.  E  flat 
major.  622,  Concerto  for  Clarinet. 
Aecomp.:  2  Violins,  Viola,  Bass,  2 
Flutes,  2  Bassoons,  2  Horns.  A  major. 
Chamber  IXEusic.  Quintets  for 
Stringed  Instruments:  174,  Quintet 
for  2  Violins,  2  Violas,  and  'Cello.  B 
flat  major.  406,  Quintet  for  2  Vio- 
lins, 2  Violas,  and  'Cello.  C  minor. 
407,  Quintet  for  1  Violin,  2  Violas,  1 
Horn,  1  'Cello  (or  instead  of  the  Horn 
a  second  'Cello).  E  flat  major.  515, 
Quintet  for  2  Violins,  2  Violas,  and 
'Cello.  C  major.  516,  Quintet  for  2 
Violins,  2  Violas,  and  'Cello.  G  minor. 
581,  Quintet  for  1  Clarinet,  2  Violins, 
Viola,  'Cello.  A  major.  593,  Quintet 
for  2  Violins,  2  Violas,  'CeUo.  D 
major.  614,  Quintet  for  2  Violins,  2 
Violas,  'Cello.  E  flat  major.  525,  A 
short  Serenade.  Eine  kleine  Nacht- 
musik  for  2  Violins,  Viola,  'Cello, 
Double  Bass.  G  major.  Quartets  for 
Stringed  Instruments  (for  2  VioUns, 
Viola,  and  'Cello):  80,  Quartet  G 
major;  155,  Quartet  D  major;  156, 
Quartet  G  major;  157,  Quartet  C 
major;  158,  Quartet  F  major;  159, 
Quartet  B  flat  major;  160,  Quartet 
E  flat  major;  168,  Quartet  F  major; 
169,  Quartet  A  major;  170,  Quartet 
C  major;  171,  Quartet  E  flat  major; 
172,  Quartet  B  flat  major;  173,  Quar- 
tet D  minor;  387,  Quartet  G  major; 
421,  Quartet  D  minor;  428,  Quartet 
E  flat  major;  458,  Quartet  B  flat 
major;  464,  Quartet  A  major;  465, 
Quartet  C  major;  499,  Quartet  D 
major;  575,  Quartet  D  major;  589, 
Quartet  B  flat  major;  590,  Quartet 
F  major;  136,  Divertimento  D  major; 
137,  Divertimento  B  flat  major;  138, 
Divertimento  F  major;  546,  Adagio 
and  Fugue  C  minor;  285,  Quartet  for 
Flute,  Violin,  Viola,  'Cello.  D  major. 
298,  Quartet  for  Flute,  Violin,  Viola, 
'Cello.     A  major.     370,  Quartet  for 


Hautboy,  Violin,  Viola,  'Cello.  P 
major.  Duos  and  Trios  for  Stringed 
Instruments :  423,  Duo  for  Violin  and 
Viola.  G  major.  424,  Duo  for  Violin 
and  Viola.  B  flat  major.  487,  Duo 
for  2  Violins.  C  major.  563,  Diverti- 
mento for  Violin,  Viola,  and  'Cello. 
E  flat  major.  Fiaao  Ifflusic.  For 
one,  two,  or  three  Pianos  aind  Or- 
chestra: 37,  Concerto  for  Piano.  Ae- 
comp.: 2  Violins,  Viola,  Bass,  2  Haut- 
boys, 2  Horns.  F  major.  39,  Con- 
certo for  Piano.  Aecomp.:  2  Violins, 
Viola,  Bass,  2  Hautboys,  2  Horns.  B 
flat  major.  40,  Concerto  for  Piano. 
Aecomp.:  2  Violins,  Viola,  Bass,  2 
Hautboys,  2  Horns,  2  Trumpets.  D 
major.  41,  Concerto  for  Piano.  Ae- 
comp. :  2  Violins,  Viola,  Bass,  2  Flutes, 
2  Horns.  G  major.  175,  Concerto  for 
Piano.  Aecomp.:  2  Violins,  Viola, 
Bass,  2  Hautboys,  2  Horns,  2  Trum- 
pets, and  Kettle-drums.  D  major. 
238,  Concerto  for  Piano.  Aecomp.;  2 
Violins,  Viola,  Bass,  2  Hautboys,  2 
Horns.  B  flat  major.  242,  Concerto 
for  3  Pianos.  Aecomp.:  2  Violins, 
Viola,  Bass,  2  Hautboys,  2  Horns.  F 
major.  246,  Concerto  for  Piano.  Ae- 
comp. :  2  Violins,  Viola,  Bass,  2  Haut- 
boys, 2  Horns.  C  major.  271,  Con- 
certo for  Piano.  Aecomp.:  2  Violins, 
Viola,  Bass,  2  Hautboys,  2  Horna.  E 
flat  major.  365,  Concerto  for  2  Pianos. 
Aecomp.:  2  Violins,  Viola,  Bass,  2 
Hautboys,  2  Bassoons,  2  Horns.  B  flat 
major.  413,  Concerto  for  Piano.  Ae- 
comp. :  2  Violins,  Viola,  Basa,  2  Haut- 
boys, 2  Bassoons,  2  Horns.  F  major. 
414,  Concerto  for  Piano.  Aecomp.: 
2  Violins,  Viola,  Baas,  2  Hautboya,  2 
Horns.  A  major.  415,  Concerto  for 
Piano.  Aecomp.;  2  Violins,  Viola, 
Bass,  2  Hautboys,  2  Horns,  2  Bassoons, 
Trumpets,  and  Kettle-drums.  C  major. 
449,  Concerto  for  Piano.  Aecomp.: 
2  Violins,  Viola,  Baas  (2  Hautboys, 
2  Horns  ad  libitum).  C  minor.  450, 
Concerto  for  Piano.  Aecomp.:  2  Vio- 
lins, Viola,  Bass,  1  Flute,  2  Hautboys, 
2  Bassoons,  2  Horns.  B  flat  major. 
451,  Concerto  for  Piano.  Aecomp.;  2 
Violins,  Viola,  Baaa,  1  Flute,  2  Haut- 
boys, 2  Bassoons,  2  Horns,  2  Trum- 
pets, Kettle-drums.  D  major.  453, 
Concerto  for  Piano.    Aecomp.:  2  Vio- 


KOZABT 


420 


liCOZAKT 


lins,  Viola,  Bass,  1  Flute,  2  Hautboys, 
2  Bassoons,  2  Horns.  G  major.  456, 
Concerto  for  Piano.  Accomp. :  2  Vio- 
lins, Viola,  Bass,  1  Flute,  2  Hautboys, 
2  Bassoons,  2  Horns.  B  flat  major. 
459,  Concerto  for  Piano.  Accomp.: 
2  Violins,  Viola,  Bass,  1  Flute,  2  Haut- 
boys, 2  Bassoons,  2  Horns.  F  major. 
466,  Concerto  for  Piano.  Accomp.: 
2  Violins,  Viola,  Baas,  1  Flute,  2  Haut- 
boys, 2  Bassoons,  2  Horns,  2  Trumpets, 
Kettle-drums.  D  minor.  467,  Con- 
certo for  Piano.  Accomp.:  2  Violins, 
Viola,  Bass,  1  Flute,  2  Hautboys,  2 
Bassoons,  2  Horns,  2  Trumpets,  Kettle- 
drums. C  major.  482,  Concerto  for 
Piano.  Accomp.:  2  Violins,  Viola, 
Bass,  1  Flute,  2  Clarinets,  2  Bassoons, 
2  Horns,  2  Trumpets,  and  Kettle- 
drums. E  flat  major.  488,  Concerto 
for  Piano.  Accomp.:  2  Violins,  Viola, 
Bass,  1  Flute,  2  Clarinets,  2  Bassoons, 
2  Horns.  A  major.  491,  Concerto  for 
Piano.  Accomp.:  2  Violins,  Viola, 
Baas,  1  Flute,  2  Hautboys,  2  Clarinets, 
2  Bassoons,  2  Horns,  2  Trumpets,  Ket- 
tle-drums. C  minor.  503,  Concerto 
for  Piano.  Accomp. :  2  Violins,  Viola, 
Bass,  1  Flute,  2  Hautboys,  2  Bassoons, 
2  Horns,  2  Trumpets,  and  Kettle- 
drums. C  major.  537,  Concerto  ( Cor- 
onation- )  for  Piano.  Accomp. :  2  Vio- 
lins, Viola,  Bass,  1  Flute,  2  Hautboys, 
2  Bassoons,  2  Horns,  2  Trumpets,  and 
Kettle-drums  ad  libitum.  D  major. 
595,  Concerto  for  Piano.  Accomp.:  2 
Violins,  Viola,  Bass,  1  Flute,  2  Haut- 
boys, 2  Bassoons,  2  Horns.  B  flat 
major.  382,  Concert-Rondo  for  Piano. 
Accomp.:  2  Violins,  Viola,  Bass,  1 
Flute,  2  Hautboys,  2  Horns,  Trumpets, 
and  Kettle-drums.  D  major.  Quintet, 
Quartets,  and  Trios  for  Piano:  452, 
Quintet  for  Piano,  Hautboy,  Clarinet, 
Horn,  and  Bassoon.  E  flat  major.  478, 
Quartet  for  Piano,  Violin,  Viola,  and 
'Cello.  G  minor.  493,  Quartet  for 
Piano,  Violin,  Viola,  and  'Cello.  E  flat 
major.  254,  Trio  for  Piano,  Violin,  and 
'Cello.  B  flat  major.  .442,  Trio  for 
Piano,  Violin,  and  'Cello.  D  minor. 
496,  Trio  for  Piano,  Violin  and  'Cello. 
G  major.  498,  Trio  (Kegelstatt-)  for 
Piano,  Clarinet,  and  Viola.  E  flat 
major.  502,  Trio  for  Piano,  Violin, 
and 'Cello.    B  flat  major.    542,  Trio  for 


Piano,  Violin,  and  'Cello.     E  major. 
548,  Trio  for  Piano,  Violin,  and  'Cello. 
C  major.    564,  Trio  for  Piano,  Violin, 
and  'Cello.     G  major.     Sonatas  and 
Variations  for  Piano  and  Violin:    6, 
Sonata  C  major;    7,  Sonata  D  major; 
8,  Sonata  B  flat  major;    9,  Sonate  G 
major;    10,  Sonata  B  flat  major;    11, 
Sonata  G  major;   12,  Sonata  A  major; 
13,   Sonata  F  major;     14,  Sonata  C 
major;    15,  Sonata  B  flat  major;    26, 
Sonata  E  flat  major;    27,  Sonata  G 
major;    28,  Sonata  C  major;    29,  So- 
nata D  major;    30,  Sonata  F  major; 
31,  Sonata  B  flat  major;    55,  Sonata 
F  major;     56,  Sonata  C  major;    57, 
Sonata  F  major;    58,  Sonata  E  flat 
major;    59,  Sonata  C  minor;    60,  So- 
nata E  minor;    61,  Sonata  A  major; 
296,  Sonata  C  major;    301,  Sonata  6 
major;     802,    Sonata   E    flat   major; 
303,  Sonata  C  major;    304,  Sonata.  E 
minor;     305,   Sonata  A  major;    306, 
Sonata  D  major;    372,  Allegro  of  a 
Sonata  B  flat  major;    376,  Sonata  F 
major;    377,  Sonata  F  major;     378, 
Sonata  B  flat  major;    379  Sonata  G 
major;   380  Sonata  E  flat  major;  402, 
Sonata    A    major;     403,     Sonata    C 
major;    404,   Sonata  C  major;    454, 
Sonata  B  flat  major;    481,  Sonata  E 
flat  major ;  526,  Sonata  A  major ;  547, 
Sonata  F  major;    359,  12  Variations 
on    "La    BergSre    Silim6ne,"    G   ma- 
jor; 360,  6  Variations  on  "  H61as,  j'ai 
perdu  mon  amant,"  G  minor.     Piano 
Duets  (for  one  and  two  Pianos) :  357, 
Sonata  G  major;    358,  Sonata  B  flat 
major;;    381,  Sonata  D  major;    497, 
Sonata  P  major;    521,  Sonata  C  ma- 
jor;   501,  Andante  with  5  Variations, 
G  major;    426,  Fugue  for  2  Pianos, 
C  minor;    448,  Sonata  for  2  Pianos, 
D  major.    Sonatas  and  Fantasias  for 
Piano:    279,    Sonata   C   major;     280, 
Sonata  F  major;    281,  Sonata  B  flat 
major;  282,  Sonata  E  flat  major;  283, 
Sonata  G  major;    284,  Sonata  D  ma- 
jor;   309,  Sonata  C  major;    310,- So- 
nata A  minor;    311,  Sonata  D  major; 
330,  Sonata  C  major;    331,  Sonata  A 
major  (Turkish  March) ;   332,  Sonata 
F  major;    333,  Sonata  B  flat  major; 
457,  Sonata  C  minor;    545,  Sonata  C 
major;    570,    Sonata    B    flat   major; 
576,  Sonata  D  major;    394,  Fantasia 


atOZABT 


421 


HOZABT 


with  a  Fugue,  C  major;  396,  Fan- 
tasia C  minor;  397,  Fantasia  D  minor; 
475,  Fantasia  C  minor.  Variations  for 
Piano:  24,  8  Variations  on  an  Alle- 
gretto; 25,  7  Variations  on  "  Wilhelm 
von  Nassau";  179,  12  Variations  on 
a  Minuet  by  Fischer;  180,  6  Varia- 
tions on  "  Mio  caro  Adone  "  by  Salieri ; 
264,  9  Variations  on  "  Lison  dor- 
mait";  265,  12  Variations  on  "Ah 
vous  dirais-je,  Maman  ";  352,  8  Vari- 
ations on  a  March  from  "  Mariages 
Samnites"  by  Gretry;  353,  12  Varia- 
tions on  "La  belle  Francoise";  354, 
12  Variations  on  "Je  suis  Lindor"; 
398,  5  Variations  on  "  Salve  tu  Do- 
mine"  by  Paisiello;  455,  10  Varia- 
tions on  "  Unser  dummer  Pobel 
meint ";  460,  8  Variations  on  "  Come 
un  agnello  "  by  Sarti;  500,  12  Varia- 
tions on  an  Allegretto;  573,  9  Varia- 
tions on  a  Minuet  by  Duport;  613, 
8  Variations  on  the  Song:  "  Ein  Weib 
ist  das  herrlichste  Ding."  Minor 
Pieces  for  the  Piano:  1,  Minuet  and 
Trio  G  major ;  2,  Minuet  F  major ;  4, 
Minuet  F  major;  5,  Minuet  F  major; 
94,  Minuet  D  major;  355  Minuet  D 
major;  485,  Hondo  D  major;  494, 
Short  Bondo  F  major;  511,  Rondo 
A  minor;  399  (Piano-Suite),  Over- 
ture, AUemande,  Courante,  Sarabande, 
C  major;  401,  Fugue  G  minor;  3, 
Allegro,  B  flat  major;  312,  Allegro  of 
a  Sonata  G  minor;  533,  Allegro  and 
Andante  F  major;  236,  Andantino  E 
flat  major;  540  Adagio  B  minor;  574, 
A  Small  Gigue  G  major;  .624,  36 
Cadenzas  to  his  Piano-Concertos. 
Sonatas  for  Organ  with  Accompam- 
ment:  67,  Sonata  for  Organ,  2  Violins, 
and  Bass.  E  flat  major.  68,  Sonata 
for  Organ,  2  Violins,  and  Bass.  B 
flat  major;  69,  Sonata  for  Organ,  2 
Violins,  and  Bass.  D  major;  144, 
Sonata  for  Organ  (or  Bass),  and  2 
Violins.  D  major.  145,  Sonata  for 
Organ  (or  Bass),  and  2  Violins.  F 
major.  212,  Sonata  for  Organ,  2  Vio- 
lins, and  Bass.  B  flat  major.  224, 
Sonata  for  Organ,  2  Violins,  and  Bass. 
F  major.  225,  Sonata  for  Organ,  2 
Violins,  and  Bass.  D  major.  244, 
Sonata  for  Organ,  2  Violins,  and  Bass. 
F  major.  245,  Sonata  for  Organ,  2 
Violins,   and   Bass.     D  major.     274, 


Sonata  for  Organ,  2  Violins,  and  Bass. 
G  major.  278,  Sonata  for  Organ,  2 
Violins,  'Cello,  Bass,  2  Hautboys, 
Trumpets,  Kettle-drums.  0  major. 
328,  Sonata  for  Organ,  2  Violins,  and 
Bass.  C  major.  329,  Sonata  for 
Organ,  2  Violins,  'Cello,  Bass,  2  Haut- 
boys, 2  Horns,  Trumpets,  Kettle- 
driuns.  C  major.  336,  Sonata  for 
Organ,  2  Violins,  Bass.  C  major.  Sup- 
plement. 626,  Kequiem  for  4  Voices, 
2  Violins,  Viola,  Bass,  2  Basset  horns, 
2  Bassoons,  Trombones,  Trumpets, 
Kettle-drums,  Organ.  D  minor.  75, 
Symphony  for  2  Violins,  Viola,  Bass, 
2  Hautboys,  2  Horns.  F  major.  76, 
Symphony  for  2  Violins,  Viola,  Bass, 
2  Hautboys,  2  Horns,  2  Bassoons.  F 
major.  81,  Symphony  for  2  Violins, 
Viola,  Bass,  2  Hautboys,  2  Horns.  D 
major.  95,  Symphony  for  2  Violins, 
Viola,  Bass,  2  Hautboys,  2  Trumpets. 
D  major.  96,  Symphony  for  2  Violins, 
Viola,  Bass,  2  Hautboys,  2  Horns,  2 
Trumpets,  Kettle-drums.  C  major. 
97,  Symphony  for  2  Violins,  Viola, 
Bass,  2  Hautboys,  2  Horns,  2  Trum- 
pets, Kettle-drums.  D  major.  Suppl. 
9,  Concerted  Quartet  for  Hautboy, 
Clarinet,  Horn,  and  Bassoon  with  ac- 
comp.  102,  Final  Movement  of  a  Sym- 
phony for  2  Violins,  Viola,  Bass,  2 
Hautboys,  2  Horns,  2  Trumpets.  120, 
Final  Movement  of  a  Symphony  for  2 
Violins,  Viola,  Bass,  2  Hautboys,  2 
Flutes,  2  Horns,  Trumpets,  Kettle- 
drums. 163,  Final  Movement  of  a 
Symphony,  the  same  instrumentation. 
Suppl.  10,  Ballet  Music  to  the  Panto- 
mime "  les  petits  riens."  291,  Fugue 
for  2  Violins,  2  Violas,  Bass,  2  Horns, 
2  Flutes,  2  Hautboys,  2  Bassoons 
(Fragment).  32,  Galimathias  musi- 
cum  for  Piano,  2  Violins,  Viola,  Bass, 
2  Hautboys,  2  Horns,  Bassoon.  65  a, 
Seven  Minuets  with  Trio  for  2  Violins 
and  Bass.  122,  Minuet  without  Trio 
for  2  Violins,  Bass,  2  Hautboys,  2 
Horns.  363,  Three  Minuets  for  2 
Violins,  Bass,  2  Hautboys,  2  Horns, 
2  Bassoons,  Trumpets,  and  Kettle- 
drums. 363,  2  Minuets  for  2  Violins, 
Bass,  Flute,  2  Hautboys,  and  2  Trum- 
pets (2  Horns)  ;  106,  Overture  and  3 
Contra-Dances  for  2  Violins,  Bass,  2 
Hautboys,  2  Bassoons,  2  Horns.    606, 


KOZABT 


422 


3I0ZABT 


6  L^ndler  (Rustic  Dances)  for  Orches- 
tra. Transcription  for  2  Violins  and 
Bass.  607,  Contra-Dance  "  II  trionfo 
delle  donne "  for  Orchestra  (Frag- 
ment). 446,  Music  to  a  Pantomime 
for  2  Violins,  Viola,  Bass  (Fragment). 
268,  Concerto  for  Violin.  Aceomp. : 
2  Violins,  Viola,  Bass,  Flute,  2  Bas- 
soons, 2  Hautboys,  2  Horns.  E  flat 
major.  293,  Concerto  for  Hautboy. 
Aceomp.:  2  Violins,  2  Violas,  Bass,  2 
Clarinets,  2  Horns,  2  Bassoons.  F 
major.  371,  Concert-Rondo  for  Horn. 
Aceomp.:  2  Violins,  Viola,  Bass,  2 
Hautboys,  2  Horns.  E  flat  major. 
Suppl.  56,  Concerto  for  Piano  and  Vio- 
lin with  aceomp.  of  2  Flutes,  2  Haut- 
boys, 2  Horns,  2  Trumpets,  Kettle- 
drums, and  Bass  (Fragment).  46, 
Quintet  for  2  Violins,  2  Violas,  and 
'Cello.  B  flat  major.  Suppl.  91,  Quin- 
tet for  Clarinet,  2  Violins,  Viola,  and 
'Cello  (Fragment).  Suppl.  72,  Quar- 
tet for  2  Violins,  Viola,  and  'Cello 
(Fragment).  266,  Trio  for  2  Violins 
and  Bass.  B  flat  major.  39S,  Short 
Fantasia  for  Piano.  153,  154,  Two 
Fugues  for  Piano.  400,  First  Move- 
ment of  a  Sonata  for  Piano.  534,. 
Contra-Dance  (The  Thunderstorm)  for 
Orchestra.  Arranged  for  Piano.  D 
major.  594,  Adagio  and  Allegro  for 
the  mechanism  of  a  Clock.  Arranged 
for  Piano,  four  hands.  F  minor.  115, 
Missa  brevis  for  4  Voices  and  Organ. 
427,  Missa  for  4  Voices,  2  Violins, 
Viola,  Bass,  2  Hautboys,  2  Horns,  2 
Bassoons,  Trumpets,  Kettle-drums,  4 
Trombones,  Organ.  C  minor.  Suppl. 
21,  Laorymosa  for  4  Voices,  Bass,  and 
Organ.  44,  Motet  "Ex  adipe  fru- 
menti."  For  4  Voices  and  Organ.  91, 
Kyrie  for  4  Voices,  Violin,  and  Organ. 
116,  Kyrie  for  4  Voices,  2  Violins, 
Viola,  Bass,  and  Organ.  221,  Kyrie  for 
4  Voices  and  Organ.  337,  Credo  for  4 
Voices,  2  Violins,  2  Hautboys,  2  Bas- 
soons, 2  Trumpets,  3  Trombones,  Ket- 
tle-drums, Bass,  and  Organ.  429,  Can- 
tata "  Dir  Seele  des  Weltalls."  For  2 
Tenors  and  1  Bass-Voice,  2  Violins, 
Viola,  Bass,  2  Hautboys,  1  Flute,  1 
Clarinet,  2  Horns,  1  Bassoon.  422, 
L'Oca  del  Cairo.  Opera  bouffe  in  2 
Acts.  430,  Lo  Sposo  deluso,  ossia  La 
Rivalita.   di   tre    Donne   per   un    solo 


Amante.    Opera  bouffe  in  2  Acts.    71, 
Aria    for    Ten.      "  Ah    pift    tremar." 
Aceomp.:     2   Violins,   Viola,   Bass,  2 
Hautboys,  2  Horns  (Fragment).    119, 
Aria  for  Sop.    "  Der  Liebe  himmlisches 
Geftihl."     With  Piano  aceomp.     178, 
Aria  for  Sop.    "  Ah  Spiegarti."    With 
Piano  aceomp.    389,  Duet  for  2  Tens. 
"Welch  angstliches  Beben."    Aceomp.: 
2  Violins,  Viola,  Bass,  1  Flute,  1  Haut- 
boy, I  Bassoon,  2  Horns   (Fragment). 
433,  Aria  for  Bass- Voice.     "Manner 
suehen  stets  zu  naschen."     Aceomp.: 
2  Violins,  Viola,  Bass,  2  Hautboys,  2 
Horns     (Fragment).     434,    Trio    for 
Ten.  and  2  Bass- Voices.     "Del  gran 
regno   delle   Amazoni."     Aceomp.:    2 
Violins,  Viola,   Bass,   2  Hautboys,  2 
Horns,  2  Bassoons  (Fragment).    435, 
Aria  for  Ten.    "  Musst'  ich  auch  durch 
tausend  Drachen."     Aceomp.:   2  Vio- 
lins, Viola,  Bass,  1  Flute,  1  Hautboy,.  1 
Clarinet,  2  Horns,  2  Bassoons,  Trum- 
pets,  and  Kettle-drums    (Fragment). 
438,  Trio  for  2  Sops,  and  1  Bass- Voice. 
"  Se  lontan,  ben  mio,  tu  sei."    Same 
aceomp.    (Fragment).     440,  Aria  for 
Sop.     "  In  te  spero,  o  sposo  amato." 
With  Bass  aceomp.    580,  Aria  for  Sop. 
"  Schon    lacht    der    holde   Friihling." 
Aceomp.:    2    Violins,    Viola,    Bass,  2 
Clarinets,  2  Bassoons,  2  Horns.     82, 
Aria  for  Sop.    "  Se  ardire,  e  speranza." 
Aceomp.:    2   Violins,   Viola,   Bass,   2 
Flutes,  2  Horns.     393,  Solfeggios  for 
one   Sop.-Voice  with   or  without  ac- 
eomp. (Fragment).    Suppl.  5,  Jocular 
Quartet  for  Sop.,  2  Tens.,  and  Bass. 
"  Caro     mio     Druck  und     Schluck." 
With     Piano    aceomp.      (Fragment). 
Suppl.  191,  Canon  for  4  Voices.    232, 
Canon  for  4  Voices.     232,  Canon  for  5 
Voices.    23,  Aria  "  Conservati  fedele  " 
for  Sop.  with  aceomp.  of  stringed  in- 
struments.    Suppl.  80,  Quintet  for  2 
Violins,  2  Violas,  and  'Cello.    98,  Sym- 
phony for  2  Violins,  Viola,   Bass,  2 
Hautboys,  2  Horns.    164,  Six  Minuets 
for  2  Violins,  Bass,  2  Oboes  (Flutes) 
and   2   Trumpets    (Horns).     487,  12 
Duets  for  Basset  horns.   452,  A  Sketch 
to  a  Quintet  for  Piano,  Oboe,  Clari- 
net, Horn,  and  Bassoon.     Suppl.  H, 
42,  Sonata  for  2  Pianos   (Fragment), 
42,    Recitative    and    Aria    for    Sop., 
"  Basta    Vincesti " ;    eccoti    il   foglio, 


MOZABTEUM  OF  SALZBTJRG  423  MtJLLEB 

with     accomp.     of     stringed     instru-        IVIuffat  (Georg)   composed  for  or- 
ments.  gan;     played    organ    Strasburg    and 

Kozarteum  of  Salzburg  was  Salzburg  Cathedrals;  chapelmaster  to 
founded  as  a  memorial  to  the  great  the  Bishop  of  Passau;  pupil  of  Lulli. 
composer  in  his  native  place,  gives  12  B.  Passau;  d.  Feb.  23,  1704,  Pas- 
annual  concerts,  includes  an  orches-  sau.  August  Gottlieb  Theophi- 
tral  society  which  performs  Mozart's  lus  composed  organ  and  harpsichord 
music  in  the  churches  of  that  city,  pieces  from  which  Handel  borrowed 
and  embraces  a  music  school  in  which  melodies;  musician  to  the  court  of 
members  of  the  orchestra  teach.  The  Vienna;  pupil  of  Fux  and  of  his 
International  Mozart  Stiftung,  a  fund  father  GEORG.  B.  1690, .Passau;  d. 
created  in  1869,  is  intended  to  finance  Dec.  10,  1770,  Vienna, 
an  International  conservatory  of  mu-  ]y[iililfeld  (Bichard)  played  clari- 
sic,  and  to  assist  poor  musicians.  net  and  violin;    coneertmeister  Mein- 

Iffozartstif tung  was  founded  as  the  ingen  court  orchestra,  played  in  Bay- 
outgrowth  of  a  music  festival  given  reuth  festivals;  pupil  of  Buchner. 
by  the  Frankfort  "  Liederkranz,"  June  B.  Salzungen,  Feb.  28,  1856;  add. 
25,  1838.     The  profits  were  carefully    Meiningen. 

invested,  and  the  interest,  amounting  IVCiiller  (Aegidlus  Christopli)  be- 
in  1908  to  more  than  1500  marks  per  came  court  musician  to  the  Duke  of 
annum,  devoted  to  four-year  scholar-  Brunswick,  and  father  of  the  four 
ships  for  young  composers.  brothers     distinguished     as     quartet 

SEuch  Ado  About  ITothing.  C.  V.  players.  B.  Nordhausen,  July  2, 
Stanford's  four-act  opera  to  book  by  1766;  d.  Aug.  14,  1841,  Brunswick. 
Sturgis,  after  Shakespeare,  was  first  Karl  Friedrich.  was  coneertmeister 
performed  May  30,  1900,  at  Covent  in  the  ducal  orchestra,  and  later  first 
Garden.  .violin  of  the  famous  quartet.    B.  Nov. 

Muck  (Karl,  Bh.D.)  conducted  the  11,  1797;  d.  April  4,  1873.  Franz 
Boston  Symphony  Orchestra,  1906-8,  Ferdinand  Georg  also  became  con- 
by  permission  of  the  Royal  Berlin  eertmeister,  later  second  violin  in 
Opera,  to  which  he  then  returned  the  quartet.  B.  July  29,  1808;  d. 
as  an  assistant  conductor.  Son  of  May  22,  1855.  Theodor  Heinrich 
a  Bavarian  magistrate,  he  studied  Gustav  played  viola  in  the  quartet, 
at  Heidelberg,  and  later  at  Leipsic,  B.  Dec.  3,  1799;  d.  Sept,  7,  1855. 
taking  his  doctor's  degree  there  and  August  Theodor  played  'cello  in  the 
at  the  same  time  studying  music  at  quartet.  B.  Sept.  27,  1802;  d.  Oct. 
the  Conservatory.  In  1880  he  made  his  20,  1875.  From  1830  to  1845  this 
debut  as  a  pianist  at  the  Gewandhaus,  quartet  played  the  chamber  music  of 
then  served  successfully  as  chapel-  Haydn,  Mozart,  and  Beethoven  in  all 
master  at  Salzberg,Brun,Graz,  Prague;  the  principal  cities  of  Europe.  The 
then  became  conductor  of  the  Beumann  four  sons  of  KARL  FRIEDRICH 
Opera  Company,  which  led  to  his  ap-  likewise  organized  a  quartet,  which 
pointment,  1892,  at  the  Berlin  Opera,  gave  concerts  until  1873,  when  the 
B. Oct. 22, 1859, Darmstadt;  add. Berlin,    organization  disbanded.    Karl  played 

Mudie  (Thomas  MoUeson)  com-  first  violin.  B.  April  14,  1829;  m. 
posed  four  symphonies,  48  piano  the  singer  Elbira  Berghaus.  Hugo 
solos,  42  songs,  24  sacred  songs,  cham-  played  second  violin.  B.  Sept.  21, 
ber  music;  played  piano  and  clarinet;  1832;  d.  June  26,  1886.  Bernhard 
taught.  Royal  Academy  of  Music,  played  viola.  B.  Feb.  24,  1825;  d. 
London,  where  he  was  one  of  the  10  Sept.  4,  1895.  Willielm  played 
scholars  admitted  after  the  first  ex-  'cello;  later  chamber  musician  and 
amination  1823.  B.  Nov.  30,  1809,  teacher  in  the  Hochschule  fur  Musik, 
Chelsea;    d.  July  24,  1876,  London.        Berlin.     B.   June    1,   1834;    d.   Sept. 

MCuette  de  Portici.    French  title  of    1897,  New  York.         ,     ,      ,^, 
Daniel    F.   B.   Auber's   opera    "  MA-       MuUer  (August  Eberbardt)  wrote 
SANIELLO."  instruction  books  for  piano  and  flute; 


K'D'LLEB                       434  IIXTSETTE 

composed    three    cantatas,   two   oper-  d.    1630,    Windsor.      William    com- 

ettas,  piano  concertos,  organ  suites,  23  posed  a  service,  three  anthems ;    sang 

duets  for  two  flutes,  songs,  etc.;    be-  Eng.  Chapel  Royal.    D.  about  1591. 

came  cantor,  Leipsic  Thomasschule  in  Munro  (Alexander)  published  "A 

succession  to  Hiller,  1804.     B.  Nord-  Collection    of    the    best    Soots    Tunes 

heim,    Hanover,    Dec.    13,    1,767;     d.  fitted  to  German  flute,"  1732;  Scotch 

Dec.  3,  1817,  Weimar.  musician,  settled  in  Paris. 

SEiiller  (Christian)  built  organs  in  Munter.    Oer.    Allegro  or  lively. 

Amsterdam    and    Haarlem,    .1720    to  DIuris,  de  (Johannes)  wrote  "  Spec- 

1770.  ulum  Musice "  and  other  theoretical 

IVEuller     (Heinrich.)    published  works    on    music   between    1339    and 

"  Geistliche  Seelen-Musik,"  1659,  con-  1358,  reprinted  by  Gerbert  and  Cous- 

taining    400    hymns,    and    a    second  semaker;     was    formerly   thought   to 

collection,    "  Geistliche   Erquiek-Stun-  have  invented  the  Longe,  Breve,  etc. ; 

den,"   1666;     pastor   and  archdeacon,  noted    also    as    mathematician    and 

Rostock  Marienkirche  and  professor  of  astrologer ;    probably    an    ecclesiastic 

theology.     B.  Oct.   18,  1631,  Liibeck;  of    Norman    birth,    but    settled    in 

d.  Sept.  17,  1675.  Paris. 

XEiiller    (Iwan)    taught    clarinet,  IKCurky.     Harpsichord  music  with 

Paris  Conservatoire;    composed  works  bass  of  broken  octaves, 

for  clarinet  still  possessing  educational  Iilursclihauser  (Franz  Xaver  An- 

value.     B.    Dec.    3,    1786,   Reval;     d.  ton)  wrote  "  Aceademia  Musico-poetica 

Feb.  4,  1854,  Buckeburg.  bipartita,"  Nuremberg,  1721,  and  other 

mtiller   (Wenzel)   composed  many  theoretical  works;    composed  preludes 

popular  operettas,  including  "  Zauber-  and   fugues    for   organ   lately   repub- 

zither"  from  which   Schikander  bor-  lished;    chapelmaster  at  the  Munich 

rowed  ideas  for  the  libretto  of  "  Zau-  Frauenkirche ;  pupil  of  J.  C.  Kerl.    B. 

berflSte,"  and  in  1818,  "  Travestierte  1663,     Zabern,    Alsace;     d.    Jan.    6, 

Zauberflote,"   in   all   more   than   200  1738,  Munich. 

works;     conducted    opera   in    Prague  Hurska,   de   (lima)   sang  sop.  in 

and    Vienna.      B.    Tyrnau,    Moravia,  opera,    debut    1862    at   the    Pergola, 

Sept.    26,    1767;     d.    Aug.    3,    1835,  Florence,  later  with  great  success  in 

Baden,  near  Vienna.  the  principal  cities  of  Europe,  Amer- 

lEiiller  (Wilhelm)  wrote  the  poems  ica,  Australia  in  rOles  ranging  from 

of  Schubert's  song  cycles  "Die  schone  Gilda  to  Senta;   taught  in  New  York; 

Mullerin,"    "Die    Winterreise " ;    was  pupil  of  Marehesi.    B.  1836,  Croatia; 

father  of  the  philologist  Max  MttUer.  poisoned     herself,     Jan.     14,     1889, 

B.  Oct.  7,   1794,  Dessau;    d.   Oct.   1,  Munich. 

1827,  Dessau.  Musard  (Philippe)  composed  "  Ve- 

Hunck,     de     (Prangois)     played  nise,"  "  Les  Echos  "  and  other  highly 

'cello;      taught     Brussels     Conserva-  popular    quadrilles;     was     the    best 

tory,  where  he  had  been  a  pupil  under  known  conductor  of  promenade  con- 

Platel.     B.   1815,  Brussels;    d.   1854,  certs  and  composer  of  dance  music  in 

Brussels.        Ernst      played      'cello;  Paris,     1833-52;      wrote     "Nouvelle 

taught    London    Royal    Academy    of  Mgthode    de    Composition   musicale," 

Music,  1893,  and  Guildhall  School  of  1832,  dedicated  to  Reicha,  whose  pupil 

Music;    pupil  of  his   father  FRAN-  he  had  been.    B.  1793,  Paris;   d.  Mar. 

COIS.    B.  1840,  Brussels;  m.  Carlotta  31,    1859,   Paris.     Alfred   conducted 

Patti;  add.  London.  concerts  and  balls  in  Paris.    B.  Paris, 

Mundstiick.     ©er.    Mouthpiece.  1828,    son   of    PHILIPPE;     d.    1881, 

Mundy  (Dr.  John)  composed  songs  Paris, 

and   psalms,   the   madrigal   "  Lightly  Musars.    Ballad  singers, 

she  tripped  o'er  the  dales"  for  "The  Musette.    Fr.    Small  bagpipe ;  mel- 

Triumphes  of  Oriana,"  1601;     played  odies  in  imitation  of  bagpipe  music; 

organ  Eton   College   at   St.    George's  dance  tunes  suitable  for  bagpipe;   an 

Chapel,  Windsor.    Son  of  WILLIAM;  organ  reed  stop. 


MTTSICA  425 

Husica.  It.  Music,  as  Di  Camera, 
chamber  music;  Di  Chiesa,  church 
music;  Da  Teatro,  theatrical  music 
or  opera. 

Musica  Ficta  or  Cantus  Fictus. 
Device  employed  from  the  13th  cen- 
tury by  which  the  canon  law  against 
the  use  of  accidentals  was  avoided. 
There  were  at  first  no  accidentals  in 
the  church  MODES,  but  while  the 
Cantus  Firmus  might  easily  be  con- 
structed without  them,  they  were  nec- 
essary in  counterpoint.  The  music 
though  written  without  sharps  and 
flats,  was  none  the  less  sung  with 
such  accidentals  as  were  required, 
which  were  introduced  by  the  singers 
according  to  traditional  rules. 

Musica  Flgurata.  Figured  or 
florid   music. 

DCusical  AzLtiquarian  Society  was 
founded  in  1840  by  W.  Chappell,  Dr. 
Kimbault  and  others  in  London,  and 
during  seven  years  published  19  works 
by  early  English  composers. 

lluslcal  Art  Society  was  the  name 
given  choral  organizations  of  trained 
singers  in  New  York  City,  Brooklyn, 
Boston,  and  Chicago  for  the  revival  of 
a  capella  works  by  Palestrina,  Bach, 
and  other  early  masters.  The  New 
York  society  was  founded  by  Dr. 
Frank  Damrosch,  1894,  who  was  its 
director  in  1908.  That  in  Brooklyn 
was  founded  1903  by  James  H.  Downs, 
music  master  in  the  public  schools 
and  organist  at  St.  Augustine's 
Church. 

ISIusical  Artists' Society  gave  semi- 
pri^te  subscription  concerts  of  cham- 
ber music  in  London,  1874  .to  1899,  at 
which  works  by  the  members  were  per- 
formed. The  Duke  of  Beaufort  was 
president,  and  among  the  vice-presi- 
dents were  Sir  G.  A.  Macfarren  and 
Sir  Arthur  Sullivan. 

musical  Assocation  was  founded 
in  London,  1874,  by  Sir  John  Stainer, 
Eev.  Sir  F.  A.  G.  Ousele^,  Bart.,  and 
other  distinguished  musicians,  was  in- 
corporated 1904,  and  devotes  itself  to 
investigations  of  subjects  connected 
with  the  Science  and  Art  of  Music. 
In  1900  the  association  became  allied 
with  the  INTERNATIONALE  MU- 
SIKGESELLSCHAPT. 


MUSICIANS'    COMPANY 

Musical  Box.  Instrument  in  which 
the  tones  are  produced  by  a  BARREL 
from  a  steel  comb  attuned  to  the  scale. 
It  is  sometimes  provided  with  drum 
and  bell  movements  as  well. 

Musical  Glasses.    HARMONICA. 

Musical  Society  of  London  was 
founded  in  London,  1858,  by  former 
members  of  the  NEW  PHILHAR- 
MONIC SOCIETY  and  gave  subscrip- 
tion concerts  until  1867. 

Musical  Union  gave  chamber  con- 
certs in  London,  1844  to  1880,  under 
the  direction  of  John  Ella. 

Musical  Union  in  America  was 
organized  in  afliliation  with  the  Amer- 
ican Federation  of  Labor,  having  local 
bodies  in  all  the  larger  cities,  for  the 
regulation  of  wages  and  the  protection 
of  its  members,  like  other  trade  union 
bodies.  Practically  all  the  musicians 
employed  in  theatres  throughout  the 
United  States  are  members  of  the  or- 
ganization, which  has  served  a  useful 
purpose  in  maintaining  a  fair  and  uni- 
form scale  of  prices.  The  union  is  es- 
pecially strong  in  New  York  City, 
where  its  members  include  the  entire 
personnel  of  the  opera  and  other  or- 
chestras. Inability  to  agree  with  the 
union  as  to  the  scale  of  wages  is  the 
reason  given  for  the  discontinuance  of 
the  CINCINNATI  SYMPHONY  OR- 
CHESTRA by  its  management.  Nu- 
merous attempts  have  been  made  to 
unionize  the  BOSTON  SYMPHONY 
ORCHESTRA,  but  all  have  failed. 
The  members  of  that  orchestra  are 
employed  under  annual  contract  at 
terms  in  excess  of  that  required  by 
the  union,  and  in  1905-6  Col.  Higgin- 
son,  through  whose  patronage  this 
orchestra  came  into  being,  announced 
that  no  members  of  the  orchestra  would 
be  permitted  to  join  the  union. 

Musica  Mensurata.  Measured 
music  or  CANTUS  MEASURABILIS. 

Musici.  Followers  of  the  Aristox- 
enian  system  of  music  among  the  an- 
cient Greeks,  as  opposed  to  the  Pytha- 
goreans. 

Musicians'  Company  was  char- 
tered in  London,  1604,  by  James  I,  al- 
though its  history  may  be  traced  to 
the  region  of  Edward  IV,  who  char- 
tered the  guild  of  "  his  beloved  min- 


MUSICO 


426 


HIYSTEBES    S'ISIS 


strels"  in  1469.  In  1904  the  Musi- 
ciana'  Company  gave  an  interesting 
exhibition  of  instruments,  books, 
music,  manuscripts  and  portraits,  in 
celebration  of  its  tercentenary,  and 
later  published  an  illustrated  catalogue 
of  the  collection  thus  assembled,  and 
some  of  the  lectures  then  delivered. 
The  company  awards  several  scholar- 
ships and  prizes.  The  meetings,  held  in 
Stationers'  Hall,  are  presided  over  by 
a  Master,  who,  with  two  wardens  and 
thirteen  assistants,  manages  its  affairs. 

Musico.  It.  Castrati  or  eunuch- 
soprano  or  alto. 

aiusikalisches  Opfer.  Johann  Se- 
bastian Bach's  work  containing  de- 
velopments of  a  subject  given  him  by 
Frederick  the  Great  on  occasion  of  his 
visit  to  Potsdam,  1747,  was  pub- 
lished with  a  dedication  to  that  sov- 
ereign, and  has  been  reprinted  by 
Breitkopf  &  Hartel. 

Uusin  (Ovide)  played  violin,  tour- 
ing Burope  and  America;  became 
teacher  of  that  instrument  at  Li6ge 
Conservatory,  1897,  in  succession  to 
Cesar  Thomson;  pupil  of  Hyneberg 
at  Liege  Conservatory,  1st  prize, 
1865,  then  of  Leonard  at  Paris  Con- 
servatoire, where  he  won  the  gold 
medal  for  solo  and  quartet  playing. 
B.  Sept.  22,  1854,  Nandrin,  near  Li6ge, 
Belgium;   add.  Brussels. 

Mustel  (Victor)  invented  many  im- 
provements for  the  harmonium; 
founded  the  factory  in  Paris,  1853, 
which  was  later  known  as  "Victor 
Mustel  et  ses  Fils."    B.  1815,  Havre. 

Husurgia  TJniversalis.  An  elab- 
orate treatise  on  music,  its  history, 
theory,  notation,  containing  much  that 
is  still  valuable  and  more  that  is 
quaint  and  amusing,  was  written  in 
Rome  and  published  1650  by  the  Kev. 
Athanasius  Kircher,  S.J. 

3Iuta.  It.  "  Change,"  directs  that 
the  key  be  changed  in  horn  or  drum 
music ;   directs  that  mute  be  used. 

nutation.  Change  in  a  boy's  voice 
at  puberty;  term  in  SOLMISATION; 
shift. 

Mutation  Stops.  Organ  stops  giv- 
ing the  tierce,  twelfth,  etc.,  of  the 
foundation  stops,  not  unisons  nor 
octaves. 


IVEute.  Small  clamp  of  metal  wood 
or  ivory  affixed  to  the  bridge  of  viol 
instruments  to  muffle  the  tones;  in- 
dicated by  the  direction  Muta  or  Con 
Sordini,  and  contradicted  ■  by  Senza 
Sordini.  A  pear-shape  pad  serves  the 
same  purpose  when  inserted  in  the 
bell  of  brass  instruments. 

Miithel  (Johann  Gottfried)  com- 
posed clavier  concertos  in  C  minor  and 
D  minor  and  other  music  praised  by 
Burney;  court  organist  at  Liibeck, 
and  of  the  Lutheran  Church,  Riga; 
pupil  of  J.  S.  Bach.  B.  MoUn,  Lauen- 
berg,  1720;   d.  after  1790. 

III.  V.  Abbreviation  for  Mezza  Voce. 

My  Country  't  is  of  Thee  or 
"  America,"  patriotic  song  written  by 
Samuel  Francis  Smith,,  and  first  sung 
in  public  in  the  Park  Street  Church, 
Boston,  July  4, 1832,  to  the  tune  known 
as  GOD  SAVE  THE  KING,  and  in 
German  as  Heil  dir  im  Siegerkranz, 
subsequently  obtained  national  impor- 
tance. Dr.  Edward  Everett  Hale,  who 
was  present  on  that  occasion,  and 
knew  the  author  well,  is  authority 
for  the  statement  that  the  verses  were 
written  at  the  request  of  the  pastor 
of  the  church,  who  then  handed  the 
author  several  Grerman  and  English 
hymn  books,  and  told  him  to  find 
some  tune  to  which  his  verses  would 
fit.  "Dr.  Smith  looked  through  the 
books  and  selected  the  tune,  which  he 
had  never  heard,  and  which  has  been 
sung  in  this  country  as  "America" 
ever  since.  Smith  wrote  in  all  more 
than  100  hymns,  including  "  The 
Morning  Light  is  Breaking."  Edu- 
cated at  Ilarvard  and  Andover  Theo- 
logical Seminary,  he  was  ordained  to 
the  Baptist  ministry,  1834,  and  was 
pastor  at  Waterville,  Me.,  for  the  next 
eight  years;  became  professor  of  lan- 
guages, Waterville  College,  and  edited 
periodicals  for  his  denomination.  B. 
1808,  Boston;    d.  1895. 

Mysliweczek  (Josef)  composed 
"Abramo  ed  Isacco,"  once  attributed 
to  Haydn,  and  three  other  oratorios; 
"  Olimpiade "  and  in  all  15  operas, 
chamber  music,  symphonies,  songs; 
called  "  II  Boemo."  B.  Mar.  9,  1737, 
near  Prague;    d.  Feb.  4,  1781,  Rome. 

Mysteres  d'Isis  was  the  name  of 


irrSTEBIES 


427 


NALDI 


the  version  of  Zauberflfite  which  won 
Lachnith  the  title  of  "  Le  Derangeur." 
SEysteries  or  Miracle  Plays  were 
the  dramatic  entertainments  based  on 
sacred  subjects  and  given  under  church 
auspices  before  the  development  of 
either  opera  or  oratorio. 


Naaf  (Anton  E.  August)  edited 
musical  publications  in  Vienna.  B. 
Nov.  28,  1850,  Bohemia;   add.  Vienna. 

Naaman.  Sir  Michael  Costa's  ora- 
torio, to  book  by  Bartholomew,  was 
first  performed  Sept.  7,  1864,  at  the 
Birmingham  Festival. 

Nabla.    Gr.    NEBEL. 

Nablium.    L.    NEBEL. 

Nabucco.  Giuseppe  Verdi's  three- 
act  opera,  to  book  by  Solera,  was  first 
performed  Mar.  9,  1842,  at  La  Scala, 
Milan.  A  later  production  was  given 
in  London  under  the  title  "  Nino," 
and  this  production  was  also  called 
"  Nabueodonosor." 

ITacaire.     Fr.    Large  DRUM. 

Naccare  or  Onaccare.  It.  CAST- 
ANETS. 

Naccliera.    It.    Military  DRUM. 

Naccherone.     /*.    Bass  DRUM. 

ITacIiaiaung.    Oer.    Imitation. 

Nachbaer  (Franz)  sang  ten.  in 
opera,  created  Walther  in  "  Meister- 
singer,"  Froh  in  "  Rheingold  " ;  in  boy- 
hood chorister  in  Basle ;  pupil  of  Orth 
and  Lamperti.  B.  Mar.  25,  1835, 
Schloss  Giesen,  Wurtemberg;  d.  Mar. 
21,  1902,  Munich. 

Nachdruck.  Oer.  Accent;  em- 
phasis. 

Nachez  (Tivadar)  composed  violin 
pieces  in  Hungarian  style ;  played  vio- 
lin in  tours  as  virtuosi,  and  in  Paris 
and  London  concerts;  pupil  of  Leon- 
ard. B.  Budapest,  May  1,  1859;  add. 
London. 

Nachruf.     (?er.    Farewell. 

Nachscblag.  Grace  or  ornament, 
like  a  short  appoggiatura,  but  occur- 
ring at  the  end  instead  of  at  the  be- 
ginning of  a  note. 

Nachspiel.    Qer.    Postlude. 

Nachthorn.  Organ  stop  of  wooden 
stopped  pipes. 

Wachtlager  von  Granada.  Con- 
radin    Kreutzer's    two-act    opera,    to 


book  by  Baron  von  Braun,  was  first 
performed  1834,  Vienna. 

Nachtstiicke.  Qer.  "Night  pieces.'' 
The  name  given  by  Robert  Schumann 
to  his  four  piano  solos.  Op.  23. 

Nachstver-wandte  Tone.  Ger. 
Nearest  relative  KEYS. 

Nadeshda.  A.  Goring  Thomas's 
four-act  opera,  to  book  by  Sturgis,  was 
first  performed  April  16,  1885,  at 
Drury  Lane,  London,  by  the  Carl  Rosa 
Opera  Company. 

Naenia.    Roman  funeral  song. 

ITafiri.    Indian  trumpet. 

Nagaret.     Abyssinian  kettle-drum. 

ITagel  (Wilibald)  wrote  a  History 
of  English  Music,  "  Beethoven  und 
seine  Claviersonaten,''  1903,  and  other 
works  on  music;  pupil  of  Ehrlich, 
Treibs,  Spitta,  and  Bellermann,  Ber- 
lin. B.  Jan.  12,  1863,  Mulheim;  add. 
Darmstadt. 

Nagelgeige.  Ger.  "  Nail  Fiddle." 
Instrument  invented  by  Johann  Wilde,' 
St.  Petersburg,  1740,  in  which  the  tone 
is  produced  by  the  vibration  of  iron 
nails  fixed  in  a  sounding  board  acted 
on  by  a  bow. 

Nageli  (Johann  Oeorg)  published 
music  in  Zurich  (interpolated  four 
measures  in  a  Beethoven  sonata) ; 
composed  the  air  known  in  English 
as  "  Life  let  us  cherish "  and  much 
forgotten  music.  B.  May  16,  1773, 
Zurich;   d.  Dec.  26,  1836,  Ztirich. 

Naguar.    Indian  drum. 

Naich  (Hubert)  composed  30  4-paTt 
madrigals  published  in  Rome  about 
1540 ;   probably  a  Netherlander. 

Naif.    Fr.    Artless,  natural. 

Naivement.  Fr.  Artlessly,  natur- 
ally. 

Naivete.  Fr.  Artlessness,  natural- 
ness. 

Naked  Fifth.  Fifth  without  an  in- 
tervening third. 

Naker.    DRUM. 

Nakeres.  Obsolete  English  kettle- 
drum. 

Naldi  (Giuseppe)  sang  ten.  in 
opera,  Rome,  1789,  later  in  Venice, 
Turin,  Milan,  and  Rome ;  accomplished 
musician  and  actor;  killed  in  Paris 
by  explosion  of  a  cooking  kettle  in- 
vented by  his  friend  Garcia.  B.  Feb. 
2,  1770,  Bologna;    d.  Paris,  Dec.  15, 


NALSON 


428 


NAPLES 


1820.  Idademoiselle  sang  with  suc- 
cess in  Paris  opera,  debut,  1819;  re- 
tired, 1824,  on  her  marriage  to  Conte 
di  Sparre.    Daughter  of  GIUSEPPE. 

Nalson  (Rev.  Valentine)  com- 
posed morning  and  evening  services  in 
G;  subchanter,  York  Cathedral,  18th 
century. 

Nanga.    Negro  HARP. 

Nanini  or  Nanino  (Giovanni  Ber- 
nardino) was  among  the  first  com- 
posers of  the  Roman  school  to  add 
organ  accompaniment  to  his  church 
music,  which  included  psalms,  motets, 
a  Venite,  etc. ;  composed  madrigals  for 
five  voices,  published  in  Venice,  1588- 
98;  chapelmaster  in  Roman  churches; 
pupil  of  his  brother  GIOVANNI 
MARIA.  D.  after  1612.  Giovanni 
Haria  founded  the  first  music  school  in 
Rome  ever  presided  over  by  an  Italian, 
where  he  and  his  brother  may  have 
numbered  PALESTRINA  among  their 
pupils;  composed  the  6-part  motet, 
"  Hodie  nobis  coelorum  rex,"  still  an- 
nually sung  on  Christmas  Day  in  the 
Sistine  Chapel,  canons,  motets,  madri- 
gals; became  chapelmaster  of  the  Sis- 
tine  Chapel,  1604;  in  boyhood  chorister 
at  Vallerano,  later  singer  and  chapel- 
master to  Roman  churches ;  pupil  of 
Gaudio  Mell.  B.  between  1545  and 
1550,  Tivoli;  d.  Mar.  11,  1606,  Rome. 

Nantier-Bidiee  (Constance  Betsy 
Rosabella)  sang  mez.  sop.  roles  in 
opera,  debut  in  "La  Vestale,"  Turin, 
in  Paris,  1851,  creating  Nancy  in 
"Martha,"  Siebel  in  "Faust";  tour- 
ing Europe,  America,  1856.  B.  Nov. 
16,  1831,  Isle  de  Bourbon;  d.  Dec.  4, 
1867,  Madrid. 

Napier  (William)  published  music 
in  London,  including  a  valuable  "  Col- 
lection of  Original  Scots  Songs,"  1790- 
94,  and  the  ballad  operas  "Rosina," 
"Maid  of  the  Mill."  B.  1740,  Scot- 
land;  d.  1812,  Somers  Town. 

Naples  was  for  centuries  one  of  the 
chief  music  centres  of  Italy,  and,  be- 
sides the  historic  SAN  CARLOS  opera 
house,  is  the  possessor  of  the  Real 
Conservatorio  di  Musica,  founded  in 
1808  as  the  successor  of  four  earlier 
famous  institutions.  The  first  di- 
rectors were  Tritta,  Paisiello,  and 
Feneroli,  who  were  succeeded,  1813,  by 


Zingarelli.  Under  the  administration 
of  this  famous  maestro  a  preparatory 
school  was  added,  the  faculty  strength- 
ened, and  the  institution  became  one 
of  the  foremost  in  Europe.  From  1837 
to  1840  the  management  devolved  upon 
Donizetti,  who,  in  1840,  was  replaced 
by  Mercadante.  Another  period  of 
prosperity  followed.  In  1861  Conti 
was  appointed  coadjutor  to  Merca- 
dante, who  had  become  blind.  On 
Conti's  death,  1861,  Paolo  Serrao  Mer- 
cadante became  president,  and  after 
his  death,  1870,  the  management  was 
left  in  the  hands  of  a  council  of  pro- 
fessors and  alumni.  An  excellent  li- 
brary is  attached  to  the  institution. 
The  first  Naples  Conservatory  was  that 
of  Santa  Maria  di  Loretto.  John 
Tinctor,  a  Netherland  musician,  had 
conducted  a  music  school  in  Naples 
toward  the  middle  of  the  15th  cen- 
tury, which  doubtless  served  as  a 
model  for  the  artisan  Francesco,  who, 
in  1535,  began  to  give  instruction  to 
orphan  children  in  his  own  home.  So 
well  did  he  succeed  that  Giovanni  da 
Tappia,  a,  Spanish  priest,  gave  nine 
years  of  his  life  to  begging  from  door 
to  door  throughout  the  Neapolitan  ter- 
ritories to  raise  funds  for  the  enlarge- 
ment of  the  work,  and  Francesco's 
scholars  were  then  installed  in  a  well- 
appointed  building  near  the  church 
from  which  the  Conservatory  took  its 
name.  Finally  the  government  gave 
this  building  to  the  school,  conferring 
upon  it  the  title  of  Conservatorio.  It 
was  enriched  by  bequests  and  at  one 
time  numbered  800  scholars.  Scarlatti 
was  among  the  most  celebrated  of  the 
musicians  who  received  their  educa- 
tion there.  San  Onofrlo  a  Capuana, 
which  turned  out  such  musicians  aa 
Gizzi,  Piccinini,  Jommelli,  Paisiello, 
and  Gizzielo,  was  founded  in  1576, 
conducted  by  the  Confraternity  del 
Bianchi,  and  gave  home  and  education 
to  120  orphans  each  year  until  1797, 
when  it  was  merged  with  Santa  Maria 
di  Loretto.  De'  Poveri  di  Gesu 
Cristo,  founded  by  Marcello  Fosea- 
taro  di  Nicotara,  Order  of  St.  Francis, 
housed  and  trained  the  foundlings  of 
Naples.  Feo,  Greco,  Durante,  Vinci, 
Porpora,  Pergolesi,  and  Gallo  were  all 


KAFOI^EON 


429 


NATIOITAL 


connected  with  this  institution,  which 
was  converted  into  the  Diocesan  Sem- 
inary, 1744,  the  pupils  being  distrib- 
uted among  the  other  conservatories. 
Delia  Pietta  de'  Turchini  was  the 
outgrowth  of  an  orphan  asylum  estab- 
lished 1583  by  the  Confraternity  Santa 
Maria  della  Incoronatella,  in  which  a 
century  later  musical  instruction  was 
given.  Leo,  Carafo,  and  Sala  were 
educated  there.  It  will  be  noted  that 
all  four  of  these  music  schools  were 
charities,  conducted  under  the  watch- 
ful eye  of  the  church.  The  little  pupils 
provided  music  in  the  churches,  took 
part  in  the  mysteries  or  miracle 
plays,  and  in  many  instances  passed 
from  the  oonsprvatory  to  the  theologi- 
cal seminary. 

Napoleon  (Arthtir)  founded  the 
Eio  de  Janeiro  piano  house  of  Arthur 
Napoleao  &  Miguez,  in  early  life  toured 
Europe  as  piano  virtuoso,  then  Brazil, 
and  from  1858  to  1860  the  United 
States  and  Cuba,  afterwards  playing 
in  London,  then  in  Oporto,  and  return- 
ing to  Brazil,  where  he  was  a  favourite 
of  Dom  Pedro.  His  debut  was  made 
in  Oporto  at  six,  his  father  having 
been  his  only  teacher.  B.  Mar.  6, 
1843;    add.  Rio  de  Janeiro. 

Napravnik  (Edward  Franzevich) 
composed  "  Francesca  da  Rimini,"  an 
opera  based  on  Stephen  Phillips's  play, 
St.  Petersburg,  1903;  the  four-act 
opera  "  Nije-Novgoridians,"  1868,  the 
operas  "  Harold,"  "  Doubrovsky,"  four 
symphonies,  chamber  music,  songs; 
conducted  3000  operas  during  35 
years'  service  at  the  Imperial  St. 
Petersburg  Opera;  pupil'  of  Kittel, 
Maidel,  and  the  Prague  School  of  Or- 
ganists, and  in  1860  chapelmaster  to 
Prince  Youssipov,  St.  Petersburg.  B. 
Beisht,  near  KSniggrStz,  Bohemia, 
Aug.  12,  1839;    add.  St.  Petersburg. 

Nardini  (Pietro)  composed  six  vio- 
lin concertos,  solos,  duets  for  violin, 
quartets;  court  violinist  at  Stuttgart, 
1753  to  1767,  when  he  returned  to 
Italy  as  chapelmaster  at  Florence; 
pupil  of  Tartini.  B.  1722,  Fibiana, 
Tuscany;    d.  May  7,  1793,  Florence. 

Nares  (Dr.  James)  composed  the 
prize  catch  "  To  All  Lovers  of  Har- 
mony," 1770,  glees,  canons,  six  organ 


fugues,  20  anthems,  services,  harpsi- 
chord lessons;  wrote  "A  treatise  on 
Singing,"  "  11  Principio,"  1759,  giving 
progressive  lessons  for  organ  or  harp- 
sichord; organist  of  York  Cathedral 
and  Master  of  Children  in  the  Eng. 
Chapel  Royal,  where  he  had  been  a 
chorister  in  boyhood;  pupil  of  Gates, 
Croft,  and  Pepusch.  B.  1715,  Stan- 
wall;   d.  Feb.  10,  1783,  London. 

Narrante.  It.  "Narrative."  In- 
dicates that  the  music  must  be  subor- 
dinated to  the  words. 

Nasard  or  Nazard.  Organ  stop  a 
twelfth  above  the  Foundation  Stops. 

Nason  Flute.  Organ  stop  of  stopped 
pipes  and  4-ft.  tone. 

ITathan  (Isaac)  composed  music  to 
Byron's  "Hebrew  Melodies,"  for  the 
comedy  "  Sweethearts  and  Wives,"  in- 
cluding the  song  "  Why  are  you  wan- 
dering here,  I  pray?  "  the  comic  opera 
"The  Alcaid,"  the  farce  "The  Illus- 
trious Stranger  " ;  wrote  "  Musurgia 
Vocalis,"  "  The  Life  of  Mme.  Malibran 
de  Beriot";  settled  in  Sydney,  Aus- 
tralia, and  published  a  periodical; 
rabbinical  student  in  early  life.  B. 
1791,  Canterbury;  d.  Jan.  15,  1864, 
Sydney. 

National  Concerts  was  the  name  of 
a  series  given  in  London,  1850-52,  by 
Balfe  and  Charles  d' Albert. 

National  Conservatory  of  Music 
of  America  was  founded  and  incor- 
porated in  New  York  in  1885  by  Mrs. 
Jeannette  M.  Thurber,  the  organizer 
of  the  American  Opera  Company, 
which,  under  the  direction  of  Theodore 
Thomas,  for  the  first  time  produced 
many  operatic  masterworks  in  English 
on  a  true  grand-opera  scale.  The  Na- 
tional Conservatory,  which  was  never 
intended  to  be  a  money-making  insti- 
tution, was  modelled  after  the  Paris 
Conservatoire.  In  1905  it  was  removed 
from  128  East  17th  Street  to  more 
commodious  quarters  at  45-49  West 
25th  Street.  The  late  Antonin  Dvoffik, 
one  of  the  leading  modern  composers, 
was  for  three  years  its  director,  and  the 
greatest  of  American  pianists,  Rafael 
JOSEFFY,  was  for  20  years  at  the 
head  of  the  piano  department.  Lillian 
BLAUVELT  was  a  National  Conser- 
vatory student;  so  were  the  American 


NATIONAL 


430 


NAVAKBAISE 


composers,  Harry  Rowe  Shelley,  Rubin 
Goldmark,  and  Harvey  Worthington 
Loomis.  The  Conservatory  was  char- 
tered by  a  special  Act  of  the  Congress 
of  the  United  States  in  1891.  The 
director  in  1908  was  Wassily  SAF- 
ONOFF,  who  was  for  a  decade  at 
the  head  of  the  Moscow  Conservatory, 
and  in  1908  also  conductor  of  the 
New  York  Philharmonic  Society.  He 
trained  the  National  Conservatory  Or- 
chestra, which  was  a  feeder  of  the 
leading  American  orchestras.  Mr.  Saf- 
onolf  also  had  a  piano  class.  The 
Conservatory  faculty  for  1907-8  also 
Included  Adele  Margulies  Leopold 
Lichtenberg,  Eugene  Dufriche,  Leo 
Schulz,  S.  Camillo  Engel,  Hugo  Ries- 
enfeld,  Bruno  Oscar  Klein,  and  Henry 
T.  FINCK. 

National  Training  School  for 
Music  was  founded  in  London,  1873, 
by  the  Prince  Consort,  and  was  merged 
in  the  Royal  College  of  Music,  1882. 
The  Duke  of  Edinburgh  (later  of  Saxe- 
Coburg-Gotha)  was  chairman  of  the 
council,  and  the  principals  were  Sir 
Arthur  Sullivan  and  Sir  John  Stainer. 
Among  the  pupils  was  Eug6ne  d' Albert. 

Natlonallied.    Ger.   National  song. 

Natural.  Sign  employed  to  cancel 
an  accidental  in  NOTATION;  white 
digital. 

Natural  Harmonics.  Those  pro- 
duced by  vibration  of  an  open  string. 

Natural  Key.    Key  of  C  major. 

Natural  ISodulation.  Diatonic 
MODULATION. 

Natural  Tones.  Those  produced  by 
wind  instruments  without  overblowing 
or  the  use  of  valves  or  keys. 

Nau  (Maria  Dolores)  sang  sop.  in 
opera,  debut  Paris  Op6ra,  1836,  as  the 
Page  in  "  Huguenots  " ;  toured  Amer- 
ica, 1858-60 ;  pupil  of  Paris  Conserva- 
toire and  of  Mme.  Cinti-Damoreau ; 
of  Spanish  parentage.  B.  New  York, 
Mar.  18,  1818;    retired,  1856. 

Naudin  (Emilio)  sang  ten.  in 
opera,  debut,  1845,  Cremona;  created 
Vasco  in  "Africaine,"  1865;  pupil  of 
Panizza.  B.  Oct.  23,  1823,  Parma; 
d.  1890,  Boulogne. 

Naumann  (Jobann  Oottlieb)  com- 
posed "Cora,"  "Amphion,"  Stock- 
holm, 1776-78,  and  in  all  23  operas. 


13  oratorios,  21  masses,  an  "Unser 
Vater"  to  Klopstock's  words,  and 
probably  the  "  Dresden  Amen,"  which 
Wagner  employed  in  "Parsifal"; 
chapelmaster  at  Dresden;  pupil  of 
Tartini  and  Padre  Martini.  B.  Blase- 
witz,  near  Dresden,  April  17,  1741;  d. 
Oct.  23,  1801.  Dr.  Emil  composed 
the  opera  "Loreley,"  1889  (posth.), 
"  Judith,"  the  oratorio  "  Christus  der 
Friedensbote";  wrote  on  music;  or- 
ganist of  the  Leipsic  Thomaskirche; 
pupil  of  Mendelssohn  and  Hauptmann. 
B.  Sept.  8,  1827,  Berlin;  grandson  of 
JOHANN  GOTTLIEB;  d.  June  23, 
1888,  Dresden.  Karl  Ernst,  Ph.D., 
composed  the  first  sonata  for  viola; 
edited  publications  for  the  Bach 
Gesellschaft;  played  organ,  Jena;  pu- 
pil of  Wenzel,  Lange,  Hauptmann,  and 
Richter,  Leipsic,  and  of  Schneider, 
Dresden.  B.  Aug.  15,  1832,  Freiburg; 
add.  Jena. 

Nava  (Gaetano)  taught  harmony 
and  singing  38  years,  Milan  Con- 
servatory; composed  masses;  wrote 
"  Method  of  Singing "  and  books  of 
solfeggi.  B.  May  16,  1802,  Milan;  d. 
Mar.  31,  1875,  Milan. 

Navarraise.  Jules  Massenet's  two- 
act  lyric  episode,  to  book  by  J.  Claretie 
and  H.  Cain,  was  first  performed  June 
20,  1894,  at  Covent  Garden,  London, 
and  first  presented  in  America  by  the 
Manhattan  Opera  House  company. 
New  York,  1907-8.  Anita,  a  girl  of 
Navarre,  is  betrothed  to  Araquil,  ser- 
geant in  the  Spanish  army  which  is 
attacking  the  Carlist  chief  Zuccaraga. 
They  meet,  but  their  rapturous  love 
scene  is  interrupted  by  Remigio,  a 
thrifty  peasant,  father  of  Araquil.  He 
declares  his  son  shall  not  marry  Anita 
unless  she  can  obtain  a  dowry  of 
2000  douros.  Araquil  is  promoted 
lieutenant,  but  this  does  not  console 
him.  Anita  overhears  the  royalist 
general,  Garrido,  offer  a  fortune  to  any 
one  who  can  take  or  kill  Zuccaraga. 
Anita  sees  in  this  her  only  opportunity 
of  obtaining  a  dowry,  and  when  Gar- 
rido confirms  his  offer,  leaves  for  the 
Carlist  camp.  Meantime  Araquil  has 
been  vainly  seeking  the  girl.  His  com- 
rades tell  him  she  has  gone  to  the  Car- 
lists,  and  he  rushes  out  to  prove  the 


NAVOIOZLLE 


431 


NEGBO    MINSTBiELS 


truth  of  the  rumour.  In  the  second  act 
shots  are  heard,  and  Anita  returns  to 
camp,  claiming  her  reward' from  Gar- 
rido.  A  funeral  knell  confirms  her 
statement  that  she  has  killed  Zuccar- 
aga.  Garrido  pays  her  2000  douros, 
and  as  she  is  trying  to  conceal  her  gold 
Araquil  enters,  badly  wounded.  He 
tells  Anita  that  he  had  gone  to  rescue 
her  from  Zuccaraga's  arms,  and  when 
she  shows  him  the  gold,  refusing  to 
tell  him  where  she  got  it,  Araquil  ac- 
cuses her  of  having  sold  herself,  then 
learning  of  the  murder  of  Zuccaraga, 
looks  at  Anita's  hand  and  cries :  "  the 
price  of  blood!  Oh  God!  "  and  dies. 
Anita  alternately  laughs  and  cries,  and 
throws  kisses  toward  Araquil's  body. 
Garrido,  who  has  arrived  on  the  scene 
at  the  last  moment,  looks  at  her  with 
pity,  and  murmurs,  "  Mad !  mad !  poor 
child!  " 

Navoigille  (Guillaume  Tulien) 
composed  for  strings;  established  a 
free  violin  school  in  Paris.  B.  174S, 
Givet;    d.  1811,  Paris. 

Navratil  (Carl)  composed  the  op- 
eras "  Hermann,"  "  Salammbo,"  a  G 
minor  symphony,  and  the  symphonic 
poems  "John  Hus,"  "  Ziska,"  "Za- 
lov,"  "Neklan,"  "Der  Weisse  Berg," 
chamber  music,  mass  in  D;  wrote  life 
of  Smetana;  pupil  of  Ondricek,  vio- 
lin; Guido  Adler,  theory.  B.  April 
24,  1867,  Prague;    add.  Prague. 

Nay.  Eg3rptian  six-hole  flute,  in 
use  there  from  the  earliest  times ;  also 
called  "  Dervish  flute." 

ITaylor  (John)  composed  the  can- 
tatas "Jeremiah,"  "The  Brazen  Ser- 
pent," "Meribah,"  "Manna";  organ- 
ist and  choirmaster  York  Cathedral; 
conductor  York  Musical  Society;  chor- 
ister in  boyhood;  Dr.  Mus.,  Oxford, 
1872.  B.  June  8,  1838,  Stanningley, 
near  Leeds;  d.  May  15,  1897,  at  sea 
en  route  to  Australia. 

ITeale  or  O'Neil  (Jolm)  published 
music  in  Dublin  in  partnership  with 
his  son  William;  managed  concerts. 
D.  about  1738. 

Neapolitan  Sixth.  Minor  third 
and  minor  sixth  occurring  on  the  sub- 
dominant  of  a  minor  key. 

Neate  (Charles)  composed  piano 
sonatas  in  C  and  D  minor,  chamber 


music ;  played  piano  and  'cello ;  friend 
and  pupil  of  Beethoven.  B.  Mar.  28, 
1784,  London;  d.  Mar.  30,  1877, 
Brighton. 

Nebel.  Beb.  Important  stringed 
instrument  of  the  ancient  Jews,  of 
the  harp  family,  played  by  David. 
It  was  used  at  both  sacred  and  secular 
festivals. 

Nebendominant.  Oer.  Dominant 
of  the  Dominant,  as  D  in  the  key 
of  C. 

Nebengedanken.  Qer.  Accessory 
ideas  or  subordinate  subjects. 

Nebenstimmen.  Subordinate  voices 
or  parts. 

Nechiloth.  Eeb.  Wind  instru- 
ments. 

Neck.  Upper  part  of  instruments 
of  the  lute  or  viol  families  to  which 
the  keyboard  is  attached. 

Needier  (Henry)  aided  in  estab- 
lishing Academy  of  Ancient  Music, 
London,  1710,  where  he  played  first 
violin;  pupil  of  Banister.  B.  1685, 
London;   d.  Aug.  1,  1760,  London. 

Neefe  (Christian  Oottlob)  com- 
posed and  arranged  operas  and  church 
music;  was  organist  to  the  Elector 
of  Bonn,  1781,  where  he  taught  Bee- 
thoven; later  conducted  the  Dessau 
Theatre;  pupil  of  J.  A.  Hiller.  B. 
Feb.  5,  1748,  Chemnitz;  d.  Jan.  26, 
1798,  Dessau. 

Nefer.     Egyptian  guitar. 

Neghinoth.     Eeb.     NECHILOTH. 

Negligente.    It.    Negligent. 

Negligenza,  Con.  It.  With  negli- 
gence or  carelessness. 

Negro  Iffinstrels  became  a  popu- 
lar form  of  entertainment  in  both  Eng- 
land and  America  about  1830,  the  per- 
formers blacking  themselves  up  to  rep- 
resent negroes,  and  in  song,  dialect, 
and  dress  professing  'to  represent  the 
negro  of  the  Southern  plantations  in 
America.  The  songa  were  sung  in 
solos  and  choruses  to  the  accompani- 
ment of  banjos  and  bones,  and  were 
woven  together  with  a  running  dia- 
logue of  quaint  jests,  one  character 
called  Bones  acting  as  interlocutor, 
while  the  other  performers,  ranged 
about  the  stage  on  either  side  of  him, 
each  contributed  in  turn  something  to 
the  quota  of  fun,  and  the  End  Men, 


NBIBLINGEB 


433 


NEBITDA 


so  called  from  their  places  on  the 
stage,  being  second  in  importance  only 
to  Bones  himself.  A  popular  song  of 
unknown  authorship  called  "  Jim 
Crow,"  said  to  have  been  first  sung 
in  Louisrille,  Ky.,  1830,  gave  its 
name  to  both  entertainment  and  per- 
formers at  first.  Christy's  minstrels 
were  soon  famous  throughout  Eng- 
land, and  there  were  numerous  or- 
ganizations of  Negro  Minstrels  in 
America,  one  of  the  best  known  being 
that  of  Dan  Rice.  Many  of  the  ex- 
quisite songs  of  Stephen  Foster  were 
written  for  these  minstrel  troupes.  It 
is  a  mistake  to  assume,  however,  that 
Negro  Music  was  ever  heard  at  these 
entertainments.  The  American  slaves 
and  their  descendants  learned  music  as 
they  learned  the  English,  French,  or 
Spanish  languages,  and  as  the  dialect 
or  patois  they  spoke  was  but  a  de- 
based form  of  these  European  tongues, 
so  the  so-called  Negro  folk  music  of 
America  is  but  the  reproduction  of  the 
music  of  the  superior  races,  modified 
by  Negro  usage.  The  only  negro  who 
had  even  published  acceptable  lyric 
verse  up  to  1908  in  the  United  States 
was  a  mulatto,  the  late  Paul  Dunbar. 
Aside  from  Blind  Tom  WIGGINS  the 
only  other  American  negroes  known  to 
musicians  in  1908  were  Cole  and  John- 
son, authors,  composers,  and  interpre- 
ters of  "  rag-time "  (syncopated)  "coon 
songs,"  who  were  highly  successful  en- 
tertainers in  "  vaudeville."  And  it  is 
worth  noting  that  but  two  names  of 
musicians  of  Negro  blood  are  to  be 
found  in  the  history  of  the  world's  mu- 
sic—  Coleridge-Taylor,  whose  mother 
was  an  Englishwoman  and  whose 
father  was  a  native  of  Sierra  Leone, 
and  the  mulatto  violinist,  Bridgetower, 
who  assisted  Befethoven  in  the  first 
performance  of  the  Kreutzer  Sonata. 

Keidlinger  (William  Harold) 
composed  a  mass,  songs,  many  songs 
for  children;  taught  singing  in  Paris 
and  Chicago;  pupil  of  Dudley  Buck 
and  Muller.  B.  July  20,  1863,  Brook- 
lyn, N.  Y. ;    add.  Chicago. 

ITeige.  Daniel  F.  E.  Auber's  four- 
act  comic  opera,  to  book  by  Scribe  and 
Delavigne,  was  first  performed  Oct.  8, 
1823,  at  the  Theatre  Peydeau,  Paris. 


An  English  version  is  known  as  "  The 
Frozen  Lake." 

Neithardt  (August  Helnrich) 
composed  the  operetta  "  Julietta " ; 
became  royal  music  director,  and  as 
such  founded  the  Berlin  Domchor;  in 
early  life  bandmaster  of  the  Garde 
Sohiitzen  Battalion  and  of  the  Kaiser 
Franz  Grenadiers.  B.  Aug.  10,  1793, 
Schleiz;    d.  April  18,  1861,  Berlin. 

Neitzel  (Dr.  Otto)  composed  to  his 
own  books  the  operas  "Agenla,"  Halle, 
1887;  "Dido,"  Weimar,  1888;  "  Der 
Alte  Dessauer,"  Wiesbaden,  1889; 
toured  Europe  as  pianist;  taught 
Moscow  Conservatory,  1879,  then  Co- 
logne Conservatory;  critic  Kolnische 
"  Zeitung " ;  toured  America  in  lec- 
ture-recitals, 1907;  pupil  of  KuUak 
Conservatory;  Dr.  Phil.,  Berlin.  B. 
July  6,  1852,  Falkenburg,  Pomerania; 
add.  Cologne. 

Hel  Battere.  /*.  Beat  or  down 
stroke. 

Nelson  (Sydney)  composed  "  The 
Rose  of  Allandale,"  "  The  Pilot,"  and 
other  ballads,  the  burlesque  "The 
Grenadier,"  the  opera  "Ulrica"  (not 
performed)  ;  published  music  in  Lon- 
don with  Charles  Jeffries;  toured 
Canada,  the  United  States,  and  Aus- 
tralia with  his  family;  pupil  of  Sir 
George  Smart.  B.  Jan.  1,  1800,  Lon- 
don;   d.  April  7,  1862,  London. 

Nel  Stilo  Antico.  It.  In  antique 
style. 

Nenna  (Fompio)  composed  eight 
books  of  madrigals  and  church  music 
in  the  style  of  Monteverde;  taught 
Prince  Gesualdo  of  Venosa;  became 
Knight  of  the  Golden  Spur.  B.  about 
1560,  Bari,  Naples;    d.  1622. 

Nero.  It.  "Black,"  crochet  or 
quarter  note. 

Neron.  Anton  Rubinstein's  four- 
act  opera,  to  book  by  Jules  Barhier, 
was  first  performed  Nov.  1,  1879,  at 
the  Hamburg  Stadt  Theatre. 

Neruda  (Jobann  Chrysostom) 
played  violin;  took  orders  at  the 
Prague  Prasmonstratensian  monas- 
tery, of  which  he  became  chapel- 
master.  B.  Dec.  1,  1705,  Rosaicz, 
Bohemia;  d.  Dec.  2,  1763.  Johann 
Baptist  Georg  was  for  30  years 
chapelmaster  to  the  Elector  of  Saxony. 


NESSLEB 


433 


NEVADA 


B.  1703;  brother  of  JOHANN  CHRY-  Netto,  Nettamente.  It.  With  pre- 

SOSTOM;  d.  1780,  Dresden.    Ludwig  oision,  neatly. 

and  Anton  became  court  musicians  Neukomm,  von  (Siglsistiind)  com- 

to   the   Elector   of   Saxony;     sons   of  posed  "Mt.   Sinai,"   "David,"  in  all 

JOHANN  BAPTIST  GEORG.     Josef  eight   oratorios,   music   for   Schiller's 

played   organ   Brunn    Cathedral.     B.  "  Braut  von  Messina,"   symphony  in 

1807 ;   d.  Feb.  18,  1875.    Franz  played  E  minor,  the  once  popular  songs  "  Na- 

'cello,    touring    with    his    sister    and  poleon's  Midnight  Review,"  and  "  The 

father,  JOSEF.  Amalie  played  piano.  Sea,"  a  total  of  1000  works;    in  early 

Sister  of  FRANZ.    Wilma  played  vio-  life  piano  virtuoso,  made  Chevalier  of 

lin,   touring  Europe   repeatedly  with  the  Legion  of  Honor,  and  ennobled  by 

great   success,   being   an   especial   fa-  Louis  XVIII;    chapelmaster  to  Dom 

vourite   in   England,   where   she   was  Pedro  of  Brazil  until  the  revolution 

appointed    violinist    to    Queen    Alex-  of  1821;    friend  of  Mendelssohn  and 

andra,  1901.    In  1864,  while  in  Paris,  pupil  of  Michael  and  Joseph  Haydn, 

she  married  Ludwig  Norman,  and  was  B.  July  10,  1778,  Salzburg;    d.  April 

thenceforth  known  as  Norman-Neruda  3,  1858,  Paris. 

until  her   second  marriage,  July  26,  ITeumark    (Georg)   composed   and 

1888,   to   Sir   Charles  HALLE,  when  wrote  the  hymn  "  Wer  nur  den  lieben 

she  became  Lady  Halle.    B.  Mar.  29,  Gott  lasst  walten,"  which  is  the  basis 

1839,   Brunn;     daughter   of   JOSEF;  of  Bach's  church  cantata  for  the  Fifth 

add.  Berlin.  Sunday   after    Trinity,    and    of    "  To 

Nessler  (Victor  E.)  composed  Thee,  O  Lord  "  in  Mendelssohn's  "  St. 
the  operas  "  TROMPETER  VON  Paul";  musician  and  poet  attached 
SAKKINGEN,"  "  Piper  of  Hamlin "  to  the  court  of  Weimar.  B.  Muhl- 
(Der  Rattenfanger  von  Hameln"),  hausen,  Thuringia,  May  16,  1621;  d. 
and  other  popular  works;  conducted  July  8,  1681,  Weimar, 
male  singing  societies,  Leipsic;  be-  Neumes  were  the  marks  employed 
came  choral  director  of  the  Stadt  in  the  musical  NOTATION  prior  to  the 
Theatre,  1870,  and  in  1879  conductor  invention  of  the  staff.  They  were  a 
of  the  Carola  Theatre.  A  theological  development  of  the  ACCENTUS,  some- 
student  in  Strasburg,  Nessler's  oper-  what  resembled  modern  shorthand 
etta,  "  Fleurette,"  1864,  was  so  sue-  characters,  and  were  imposed  over  the 
cessful  that  he  thereafter  devoted  him-  words  to  be  sung.  The  best  account 
self  to  music.  His  other  operas  were  of  this  form  of  notation  occurs  in 
"  Die  Hoch  Zeitreise,"  "  DSrnrSschen's  Gerbert's  "  De  Cantu  et  Musica 
Brautfahrt,"  "  Naehtwaohter  und  Stu-  Sacra." 

dent,"  "Am  Alexandertag,"  "Irmin-  Neusidler   (Hans)   composed   lute 

gard,"  "  Die  Wilde  Jager,"  "  Die  Rose  music  published  in  German  Tablature, 

von    Strassburg."      Songs,    choruses,  Nuremberg,     1536-40-44;     native    of 

ballads,  and  much  music  for  male  cho-  Presburg.     D.   1563.     Melchlor  com- 

rus  increased  the  composer's  popular-  posed  lute  music  published  by  Gar- 

ity  in  Germany.     B.   Jan.  28,   1841,  dano,  Venice,   1566,  and  a  "Teutsch 

Baldenheim,  Alsace;    d.  May  28,  1890,  Lautenbuch,"  containing  songs  by  Las- 

Strasburg.  s^is,   Josquin,   etc.,    Strasburg,    1573; 

Nesvera    (Joseph)    composed    the  probably  son  of  HANS;    lutenist  to 

operas  "  Perdita,"  Prague,  "Waldes-  the  Puggers  of  Augsburg.     D.  about 

lust,"  "  Der  Bergmonch,"  symphony  in  1590. 

G  minor,  violin  concerto,  string  sep-  Neuvieme.     Fr.    Ninth, 

ter,   church   music;     chapelmaster   at  Nevada     (Emma)     sang    sop.     in 

Prague,  KBniggratz,  and  Olmutz  Ca-  opera  with  great  success,  debut  Paris 

thedral;    in  early  life  a  schoolmaster.  Op€ra    Comique,    1883,    as    Zora    in 

B.  Oct.  24,  1842,  Horowitz,  Bohemia;  "  Perle  du  Bresil,"  later  throughout 

add   Prague.  Europe  and  America,  in   1885  alter- 

liete.     Upper  string  of  the  Greek  nating  with  Patti ;  pupil  of  Marchesi. 

jyjg^  Daughter  of  Dr.  Wixom  and  taking 

28 


NEVIN 


434 


NEW   ENGLAND 


her  stage  name  from  her  birthplace, 
Nevada  City.  Her  voice  ranged  two 
and  a  half  octaves  up  to  f",  and  she 
excelled  in  such  rdles  as  Susanna, 
Cherubino,  and  Amina.  B.  1862;  m. 
Dr.  Eaymond  Palmer,  Paris,  Oct.  1, 
1885;   add.  Paris. 

Nevin.  (Etbelbert)  composed  the 
piano  suite  "  In  Tuscany,"  the  song 
cycles  "In  Arcady,"  "The  Quest  of 
Heart's  Desire"  (posth.),  a  "Sketch 
Book"  of  songs  and  piano  music, 
"Water  Scenes"  for  piano;  ranked 
with  the  foremost  of  American  song 
writers;  pupil  of  Lang  and  Emery, 
Boston,  and  of  Klindworth  and  von 
BUlow,  Berlin;  taught  in  Boston, 
Paris,  Berlin,  Florence,  Venice,  then 
settled  at  Sewickley,  near  Pittsburgh, 
broken  in  health  from  excessive  work. 
B.  Nov.  25,  1862,  Edgeworth,  Pa.;  d. 
Feb.  17,  1901,  New  Haven,  Conn. 

New  England  Conservatory  of 
Music,  incorporated  in  1870  by  a 
special  act  of  the  Legislature  of  the 
State  of  Massachusetts,  claims  1853 
as  the  date  of  its  origin,  since  in  that 
year  its  founder.  Dr.  Eben  Tour j  fie, 
first  introduced  into  America  the  Con- 
servatory system  of  musical  instruc- 
tion. In  the  year  1882,  the  growing 
needs  of  the  institution  led  to  the  pur- 
chase of  an  estate  on  Franklin  Square, 
which  it  occupied  until  the  close  of 
the  school  year,  1901-2,  when  it  be- 
came necessary  to  seek  more  ample 
accommodation.  With  the  opening  of 
the  school  year  1902-3  the  Conserva- 
tory took  possession  of  its  new  build- 
ing on  Huntington  Avenue,  corner  of 
Gainsborough  Street.  This  building  is 
constructed  on  the  most  approved 
modern  plans,  is  fireproof,  and  is 
especially  adapted  to  the  needs  of  a 
school  of  music.  On  the  first  floor 
are  the  business  offices,  reception 
rooms,  a  few  class  rooms,  the  music 
store,  and  two  auditoriums,  the  base- 
ment being  given  over  to  the  print- 
ing-room, tuning  department,  and  elec- 
tric plant.  The  larger  auditorium, 
Jordan  Hall,  is  the  gift  of  Eben  D. 
Jordan,  and  seats  over  1000  people. 
The  smaller  auditorium,  seating  over 
400,  is  used  for  lectures  and  pupils'  re- 
citals.    It  is  equipped  with  a  stage. 


scenery,  and  dressing  rooms.  The 
second  floor  of  the  building  contains 
the  musical  library  and  a  large  num- 
ber of  class  rooms.  The  third  floor 
is  devoted  to  class  rooms  and  to  the 
organ  department.  The  Conservatory 
possesses  a  large  library  and  museum. 
Students  are  given  complete  theoret- 
ical and  practical  training  in  prepara- 
tion for  a  professional  career.  More 
than  70,000  students  had  been  en- 
rolled up  to  1908,  at  which  date 
GEORGE  W.  CHADWICK  was  the 
director,  Wallace  Goodrich  dean  of 
the  faculty,  James  C.  D.  Parker,  class 
inspector,  while  the  faculty  included: 
Piano:  Carl  BAERMANN,  David  S. 
Blanpied,  Charles  F.  Denn€e,  Alfred 
De  Voto,  J.  Albert  JeflFery,  Edwin 
Klahre,  Frederick  F.  Lincoln,  F.  Addi- 
son Porter,  George  W.  Proctor,  Carl 
Stasny,  H.  S.  Wilder,  Estelle  T.  An- 
drews, Lucy  Dean,  Harry  N.  Redman, 
Eustace  B.  Rice,  Anna  M.  Stovall, 
Marie  E.  Treat,  Jane  M.  Foretien. 
Organ:  Henry  M.  Dunham,  Wallace 
Goodrich,  Homer  C.  Humphrey.  Voice: 
Charles  A.  White,  William  H.  Dun- 
ham, Armand  Fortin,  Percy  F.  Hunt, 
Arthur  D.  Babcock,  Alice  Mabel  Stan- 
away,  Pietro  Vallini,  Riccardo  Luc- 
chesi,  Clara  K.  Rogers,  Clarence  B, 
Shirley,  F.  Morse  Wemple,  Clara 
Tourjfie  Nelson.  Languages:  Mme. 
Augusto  Rotoli,  Italian;  Georg  van 
Wieren,  German;  Camille Thurwanger, 
French.  Stringed  Instruments:  Tim- 
othgeADAMOWSKI, Violin;  Josef  AD- 
AMOWSKI, 'Cello;  Eugene Gruenberg, 
Violin  and  Viola;  Felix  Winternitz, 
Violin;  Emil  Mahr,  Violin  and  Viola; 
Carl  Peirce,  Violin;  Max  0.  Kunze, 
Contrabass.  Wind  and  Other  Instru- 
ments: Daniel  Maquarre,  Arthur 
Brooke,  Flute;  C.  Lenom,  Oboe;  A. 
Vannini,  Clarinet;  L.  Post,  Bassoon; 
E.  Schormann,  French  Horn;  L.  Kloep- 
fel,  Trumpet  and  Cornet;  L.  S.  Ken- 
fleld,  Trombone;  Heinrich  Schuecker, 
Harp;  Carl  F.  Ludwig,  Tympani  and 
Drums.  Theory:  Louis  C.  ELSON, 
David  S.  Blanpied.  Earmony  and 
Composition:  George  W.  Chadwick, 
Wallace  Goodrich,  David  S.  Blanpied, 
Benjamin  Cutter,  Harry  N.  Redman, 
Frank  S.  Mason.  Sight-reading:  Sam- 


NEW    OBLEANS                435  NEW  YORK 

Sfvi^'  S°}^'  Solfeggio,  and  Music  in  tours,  the  last  of  which  was  made  in 
rubhc  Schools;  Charles  F.  Denude,  1905-6,  reflected  no  especial  credit  on 
Piano.  Sight-reading;  Eugene  Gruen-  a  time-honoured  institution, 
berg,  Violin  Sight-reading;  C.  Lenom,  New  PMlliarmonic  Society  gave 
Solfeggio;  Eustace  B.  Rice,  Solfeggio  concerts  in  London,  1852-79.  Berlioz 
and  Dictation.  Superintendents  of  conducted  the  first  season,  and  was 
Normal  Department:  F.  Addison  Por-  succeeded  in  turn  by  Lindpaintner, 
ter.  Piano;  Armand  Fortin,  Voice;  Dr.  Henry  Wilde,  and  William  Ganz. 
Eugene  Gruenberg,  Violin.  BTew  York,  the  largest  city  in  the 
New  Orleans  was  the  first  home  two  Americas,  naturally  possessed  in 
of  serious  opera  in  America,  although  1908  the  greatest  number  of  important 
the  people  m  Williamsburg,  Philadel-  musical  institutions  and  societies.  It 
phia.  New  York,  and  Boston  had  en-  was  the  seat  of  the  rival  METROPOL- 
joyed  performances  of  ballad  opera  ITAN  and  MANHATTAN  opera 
before  1791,  when  the  first  theatre  in  houses,  had  in  Carnegie  Hall  one  of 
New  Orleans  was  opened  by  a  com-  the  most  perfect  large  auditoriums  in 
pany  of  players  imported  from  France,  the  world  for  choral  and  symphonic 
The  old  Orleans  Theatre,  America's  concerts,  and  in  Mendelssohn  Hall, 
first  opera  house,  was  opened  in  1813  owned  by  the  MENDELSSOHN  GLEE 
with  a  joint  stock  company  under  the  CLUB,  one  of  the  most  beautiful  con- 
management  of  John  Davis.  A  sec-  cert  rooms  for  chamber  music  and 
ond  theatre  of  this  name,  costing  vocal  and  instrumental  recitals.  The 
$180,000,  was  built  in  1818,  and  in  plans  of  the  New  Theatre,  then  in 
that^  house  many  of  the  works  of  course  of  erection,  embraced  a  season 
Rossini,  Meyerbeer,  Auber,  and  Moz-  of  opera  comique,  in  addition  to  a 
art  had  their  first  American  perform-  regular  dramatic  repertoire.  There, 
ance.  ADOLPH  PREVOST  was  one  too,  were  located  the  NATIONAL 
of  the  moat  notable  of  early  conduct-  CONSERVATORY  OF  MUSIC,  and 
ors.  The  artists  were  brought  over  many  excellent  private  schools,  the 
from  France,  and  the  opera  was  a  headquarters  of  the  KNEISEL,  FLON- 
favourite  institution  with  cultured  ZALEY,  and  other  concert  organiza- 
Creole  society,  as  well  as  with  tions,  and  the  offices  of  the  booking 
Northern  visitors.  The  Orleans  agencies  by  which  the  tours  of  foreign 
Opera  House  was  destroyed  by  fire,  artists  were  arranged,  and  branches  of 
1868.  Meantime,  however,  the  present  the  chief  instrument  factories  and  pub- 
building  on  Bourbon  street  had  been  lishing  houses  of  the  whole  world, 
erected  for  the  Opera  Association  in  New  York's  musical  beginnings  date 
1859  by  the  architects  Gallier  &  back  to  1751,  when  the  "BEGGAR'S 
Esterbrook.  Then  came  the  Civil  OPERA,"  already  familiar  to  the  Vir- 
War,  disorganization  and  impover-  ginians  who  centred  about  Williams- 
ishment,  and  opera  was  discontinued  burg,  was  first  performed.  Other  bal- 
until  1868,  when  a  new  opera  associa-  lad  operas  followed,  and  in  1791  Pur- 
tion  was  formed,  and  a  company  as-  cell's  music  to  "  The  Tempest "  was 
sembled  which  opened  with  a  per-  heard,  but  in  musical  development 
formance  of  "  DINORAH,"  with  generally  the  city  remained  behind 
PATTI  in  the  title  r5le.  It  is  to  be  New  Orleans  and  Boston.  Versions  of 
regretted  that  since  then  the  opera  the  "  Barber  of  Seville,"  1819,  and 
has  experienced  many  vicissitudes.  "  Nozze  di  Figaro,"  1824,  together 
Paul  Ahaiza  and  E.  Calabresi,  Plac-  with  the  activities  of  such  man- 
ide  Canonge,  M.  Charley,  and  other  agers  as  MAX  MARETZEK,  the 
impresarios,  while  giving  perform-  STRAKOSCH  brothers  and  Mozart's 
ances  often  highly  meritorious  and  friend  DA  PONTE,  and  the  singing  of 
producing  many  works  new  to  Amer-  the  GARCIA  family,  prepared  the  way 
ica,  among  others  Reyer's  "SIGURD,"  for  the  opening  of  Palmo's  opera 
were  unable  to  secure  a  permanent  house,  Feb.  3,  1844,  with  "Puritani," 
financial    success,   and   the   northern  the  first  exclusively  lyric  theatre  in  the 


NEW  YORK 

metropolis;  and  on  Oct.  2,  1854,  the 
ACADEMY  OF  MUSIC  was  opened 
with  "  Norma,"  the  cast  including 
Grisi  and  Mario.  BERGMANN  and 
THEODORE  THOMAS  were  the  pion- 
eers in  giving  chamber  music  and  or- 
chestral concerts,  and  the  musical 
progress  of  the  community  was  soon 
proportionate  with  the  growth  of  popu- 
lation. New  Tork  Arion  was,  in 
1908,  one  of  the  largest  and  most  im- 
portant German  singing  societies  in 
the  world,  having  a  well  trained  chorus 
of  150  active  members,  Julius  LO- 
RENZ,  director,  which  gave  concerts 
and  operettas.  Frank  VAN  DER 
STUCKEN  was  musical  director  for 
many  years.  The  Arion  was  especially 
strong  in  its  social  features,  and  its 
annual  masked  ball  was  for  many 
years  the  principal  event  of  its  kind 
in  the  city.  New  York  Aschen- 
broedel  Verein,  with  a  membership 
of  more  than  800  musicians,  main- 
tained a  clubhouse  on  East  86th  Street, 
frequented  by  composers,  conductors, 
and  players  alike,  and  was  famous  for 
its  jollity  and  good  fellowship.  The 
first  home  of  the  Aschenbroedels, 
opened  more  than  half  a  century  ago, 
was  in  Fourth  Street.  The  members 
took  possession  of  their  present  quar- 
ters in  1894,  and  since  then  the  organi- 
zation maintained  a  steady  growth.  The 
Catholic  Oratorio  Society,  having  an 
active  membership  of  50,  gave  subscrip- 
tion concerts.  The  musical  director 
in  1908  was  C.  de  Macchi.  New  York 
Church  Choral  Society  was  organ- 
ized, 1889,  on  plans  drawn  up  by  Rich- 
ard Henry  Warren,  organist  of  St. 
Bartholomew's  Church  for  the  per- 
formance of  sacred  music  under  his 
direction.  St.  Bartholomew's  choir 
was  the  nucleus,  and  singers  were 
drawn  from  other  churches  for  the 
performances,  which  invariably  took 
place  in  the  churches  and  as  religious 
functions.  J.  Pierpont  Morgan  and 
the  late  Rt.  Rev.  H.  C.  Potter  were 
president  and  vice-president.  Insti- 
tute of  Mlusical  Art,  which  entered  on 
its  fourth  year  in  1908,  provided  for 
the  instruction  of  "  all  lovers  of  music 
who  desire  to  study  intelligently  and 
not  superficially,"  as  well  as  profes- 


436  NEW  YORK 

sional  and  post-graduate  courses,  and 
a  special  course  in  Public  School  Music. 
The  financial  basis  of  the  Institute  was 
an  endowment  of  $500,000  from  James 
Loeb  in  memory  of  his  mother,  known 
as  "  The  Betty  Loeb  Memorial  Fund." 
It  had  a  subscription  for  a  term  of 
years  amounting  to  $4000  per  annum, 
and  a  guarantee  fund  in  addition. 
Dr.  Frank  DAMROSCH,  the  director 
on  the  Institute's  foundation,  retained 
that  office  in  1908,  when  the  faculty 
consisted  of:  Voice:  William  Nelson 
Burritt,  Adriaan  Freni,  George  Hen- 
schel,  Wilfried  Oswald  Klamroth, 
Mme.  Matja  von  Niessen-Stone,  Miss 
Emma  Cecilia  Thursby,  Mrs.  Theodore 
Toedt,Mlle.  Madeleine  Walther.PiaMO.- 
Miss  Helena  Augustin,  William  H.  Bar- 
ber, Miss  Carolyn  Harding  Beebe,  For- 
rest J.  Cressman,  Miss  Agnes  Gardner 
Eyre,  Miss  Elizabeth  Gallagher,  Arthur 
Hochmann,  Miss  Anna  G.  Lockwood, 
Miss  Virginia  Lucy,  Miss  Mary  B.  Mer- 
rill, Miss  Henrietta  Michelson,  Miss 
Mabel  Phipps,  Mme.  George  Sang- 
Collins,  Mrs.  Allen  Lewis  Seymour, 
Sigismund  Stojowski,  Mrs.  Thomas 
Tapper.  Stringed  Instruments:  Ar- 
thur Agiewicz,  Edouard  Dethier, 
Mark  FonaroflF,  Carlos  Hasselbrink, 
Franz  Kneisel,  Julius  Roentgen,  Louis 
Svecenski,  Violin  and  Viola;  William 
Willeke,  'Cello;  Ludwig  Manoly, 
doublebass.  Orchestra:  Caesare  Ad- 
dimando.  Oboe ;  George  BarrSre,  Flute ; 
Hermann  Hand,  Horn;  Henry  Lfion 
Leroy,  Clarinet;  Auguste  Mesnard, 
Bassoon ;  J.  Fred  Sietz,  Timpani ;  Sam 
Tilkin,  Trombone;  Vincent  Fanelli, 
Harp.  Organ:  Gaston  Dethier.  The- 
ory and  Composition:  Forrest  J. 
Cressman,  Daniel  Gregory  Mason, 
Percy  Goetschius.  Ear-training,  Sight- 
singing,  and  Chorus:  Miss  Vernetta 
B.  Coleman,  Franklin  W.  Robinson, 
Frank  Damrosch.  Pedagogy  and  Pub- 
lic School  Music:  Miss  Vernetta  E. 
Coleman,  Thomas  Tapper,  Frank  Dam- 
rosch. Languages:  Mme.  Marguerite 
Merlin-Albro,  Miss  Bertha  Firgau,  Ed- 
ward Grossman,  Edoardo  Petri.  Lec- 
tures: William  J.  Henderson,  Henry 
E.  Krehbiel,  Daniel  Gregory  Mason, 
Waldo  Selden  Pratt,  Thomas  Tapper. 
The   enrollment   of  students,   1907-8, 


NEW    YORK 


437 


NEW   YORK 


amounted  to  617.  A  circulating  li- 
brary of  music  was  maintained  at  the 
Institute's  building,  53  Fifth  Avenue. 
New  York  Liederkranz  was  or- 
ganized by  Dr.  Hermann  E.  Ludwig, 
1846,  as  the  "  Gesangverein  der  Social 
Reformer,"  but  was  afterwards  known 
as  the  Deutscher  Liederkranz.  Its 
purpose  was  the  cultivation  of  Ger- 
man part-songs  for  male  voices.  Dr. 
Ludwig  was  president  until  his  death, 
1856,  by  which  time  the  society  was 
firmly  established.  It  was  an  original 
member  of  the  North  American  Saen- 
gerbund,  took  part  in  the  great  Men- 
delssohn Festival,  1848;  performed 
"  CZAAR  UND  ZIMMERMANN," 
1851,  and  in  1908  was  among  the  old- 
est and  most  substantial  of  the  Ger- 
man Singing  societies  of  America, 
with  a  membership  of  1400,  of  whom 
150  were  singers,  the  rest  associates, 
exclusive  of  a  large  women's  chorus. 
The  directors  since  the  beginning  were : 
Krauskopf,  Julius  Heeht,  Wilhelm 
MuUer,  Weisheit,  Agriol  Paur,  Theo- 
dore Thomas,  Arthur  Mees,  Edward 
Heimendahl,  Beinhold  L.  Herman, 
Heinrich  Zoellmer,  Dr.  Paul  Klengel, 
and  Arthur  Claassen.  The  ARION 
Singing  Society  was  the  outgrowth  of 
a  dissension  in  this  society,  1854. 
New  York  llanuscript  Society  was 
founded  in  1889  and  gave  private 
concerts  at  which  the  works  of  Amer- 
ican composers  were  performed.  It 
was  reorganized  10  years  later  as 
The  Society  of  American  Musicians 
and  Composers,  and  for  a  time  gave 
public  concerts,  but  soon  reverted  to 
the  earlier  plan  of  private  concerts, 
which  were  held  monthly  during  the 
season.  New  York  Oratorio  Society 
was  founded  by  Dr.  Leopold  Damroseh, 
1873,  and  in  1908  had  given  73  per- 
formances of  "The  MESSIAH,"  be- 
sides the  first  performance  of  many 
new  works.  On  the  death  of  Dr. 
Damroseh,  Walter  Damroseh  became 
conductor,  giving  place  in  1899  to  his 
brother,  Dr.  Frank  Damroseh.  From 
three  to  four  concerts  were  given  each 
year.  The  chorus  usually  numbered 
about  400  singers.  New  York  Peo- 
ple's Choral  tTnion  was  the  out- 
growth   of   a    sight-singing   class    es- 


tablished at  Cooper  Union,  1892,  by 
Dr.  Frank  Damroseh.  Since  1897 
the  union  has  given  an  annual  con- 
cert with  a  chorus  averaging  about 
1000  voices.  Dr.  Frank  Damroseh 
was  elected  director  for  life,  1906. 
New  York  People's  Symphony 
Concerts  were  established  by  Franz 
Xavier  Arens  as  a  means  of  extending 
a  knowledge  and  love  of  music  among 
the  poorer  classes  of  the  East  Side. 
From  1901  these  concerts  were  given 
at  Cooper  Union,  the  price  of  admis- 
sion ranging  from  10  to  30  cents.  In 
almost  every  instance  the  audiences 
filled  the  hall  to  its  utmost  capacity. 
So  great  was  the  interest  aroused 
that  a  group  of  philanthropic  people 
established  a  guarantee  fund  by  which 
the  usefulness  of  the  orchestra  might 
be  increased  and  the  permanency  of 
these  concerts  assured.  New  York 
Philharmonic  Society  had  completed 
its  65th  annual  series  of  concerts  in 
1908,  at  which  time  it  was  the  oldest 
permanent  orchestra  in  America,  and 
the  only  one  in  which  the  financial 
management  vested  in  the  musicians 
themselves  on  a  profit-sharing  basis. 
The  ofiicers  in  1908  were :  Andrew  Car- 
negie, president;  Richard  Arnold,  vice- 
president;  Felix  F.  Leifels,  secretary; 
Henry  P.  Sohmitt,  treasurer;  Wassily 
Safonoif,  conductor.  The  founders  of 
the  society  were  U.  C.  Hill,  C.  E.  Horn, 
William  Penson,and  P.  Maroncelli,and 
the  officers  chosen  at  the  first  election, 
April  23,  1842,  were  U.  C.  Hill,  presi- 
dent; A.  ReifiF,  vice-president;  F.  W. 
Rosier,  secretary;  A.  Dodworth,  treas- 
urer; W.  Wood,  librarian.  Three 
concerts  were  given  in  1842—43  under 
the  batons  of  H.  C.  Timm,  U.  C. 
Hill,  W.  Alpers,  A.  Boucher,  and 
George  Loder.  The  Fifth,  Third,  and 
Second  of  Beethoven's  symphonies 
were  given  that  season,  the  second 
half  of  each  programme  being  devoted 
to  miscellaneous  numbers,  and  from 
the  high  standard  then  set  the  society 
has  never  departed.  For  a  time  vari- 
ous members  of  the  society  conducted 
individual  concerts,  but  in  1852-53 
Theodore  Bisfeld  was  chosen  con- 
ductor for  the  season.  Among  the 
musicians  who  subsequently  filled  the 


NEW   YOBE 


438 


NEW   YOBK 


post  were:  Carl  Bergmann,  Dr.  Leo- 
pold Damrosch,  Theodore  Thomas, 
Adolph  Neuendorf,  Anton  Seidl,  and 
Walter  Damrosch.  The  number  of 
concerts  were  gradually  increased  un- 
til the  growth  of  interest  made  it 
necessary  to  secure  the  use  of  Carnegie 
Hall  to  accommodate  new  subscribers, 
when  eight  afternoon  and  eight  even- 
ing concerts  were  given  each  season. 
It  may  be  added  in  conclusion  that,  for 
the  most  part,  the  services  given  by 
the  individual  musicians  during  the 
first  half  century  of  the  society's  ex- 
istence were  largely  the  labour  of  love. 
Although  the  organization  was  finally 
placed  upon  a  sound  financial  basis, 
$216  was  the  highest  dividend  any 
member  received  in  that  period,  and 
the  individual  compensation  in  one 
year  amounted  to  $17.50.  New  York 
Bussian  Symphony  Society,  which 
entered  upon  its  fifth  season,  1907-8, 
was  organized  by  Modest  Altschuler 
for  the  purpose  of  making  known 
the  works  of  the  New-Russian  school. 
The  concerts  were  at  first  given  in 
Cooper  Union,  but  the  auditorium 
proving  too  small,  Carnegie  Hall  was 
secured  for  the  later  concerts.  Mr. 
Altschuler's  orchestra  numbered  75, 
the  repertoire  was  in  the  nature  of  a 
revelation  to  American  music  lovers, 
and  many  Russian  artists,  including 
Scriabine  Petschnikoflf  and  Lhevinne, 
made  their  debuts  under  the  auspices 
of  this  society,  of  which  H.  E.  Baron 
Rosen,  Russian  ambassador,  was  hon- 
orary president.  New  York  Sym- 
phony Quintette  was  organized,  1908, 
by  five  soloists  of  the  NEW  YORK 
SYMPHONY  ORCHESTRA  to  give 
chamber  music  concerts.  George 
Barrere  played  flute;  founded  "the 
Soci^te  Moderne  d'instruments  a 
Vent,"  Paris,  where  he  played  11 
years;  solo  flautist  the  Colonne  con- 
certs and  Paris  Op6ra;  pupil  of  Altes, 
Taffanel,  and  the  Paris  Conservatoire, 
where  he  won  first  prize,  1895.  B. 
Bordeaux;  add.  New  York.  Cesare 
Addimando  played  oboe;  taught  In- 
stitute of  Musical  Art;  pupil  of  Buo- 
noma  and  Vecchione,  Real  CoUegio 
di  San  Pietro  a  Magella,  Naples.  B. 
Foggia,  Italy;  add.  New  York.    Leon 


H.  Leroy  played  clarinet ;  pupil  of  de 
Martini  and  Pessard,  Paris  Conserva- 
toire,  and  of  Rose   for  clarinet.     B. 
Armentieres,  Prance;  add.  New  York. 
Herman  Hand  played  French  horn; 
taught  Institute  of  Musical  Art;   in 
early  life  soloist.  Imperial  Opera,  Vi- 
enna,   then    of    Metropolitan    Opera 
House,    New    York;    pupil    of    Josef 
Schandel.    B.  Vienna ;  add.  New  York. 
August    Charles    lyiesnard    played 
bassoon;  prize  pupil,  Paris  Conserva- 
toire,   and    later    soloist    Lamoureux 
Concerts  and  Paris  Opfira.    B.  Cognac, 
France;  add.  New  York.    New  York 
Symphony  Society  was  founded  by  Dr. 
Leopold  Damrosch,  1878,  who  remained 
its  conductor  for  life,  and  was  suc- 
ceeded by  Walter  Damrosch,  who  gave 
the  society  his  exclusive  attention  as 
conductor  from  1903-4,  increased  the 
number  of  concerts,  and  employed  100 
musicians.     In    1907    Mr.    Damrosch 
announced  that  a  fund  had  been  sub- 
scribed which  placed  his  organization 
in  the  position  of  a  permanent  orches- 
tra, that  is  to  say,  one  in  which  the 
individual  players  found  constant  and 
exclusive  employment.    The  nine  sym- 
phonies of  Beethoven  were  performed 
in  chronological  order  during  the  sea- 
son of  1907-8,  and  in  Feb.  of  the  lat- 
ter year  "EUGENE  ONEGIN"  was 
produced  in  concert  form,  with  orches- 
tra, soloists,  and  chorus.    New  York 
United  Singers,  made  up  from  the 
membership  of  the  numerous  German 
societies,  had  an  active  list  of  1200 
men  in  1908,  with  Carl  Hein  as  musi- 
cal  director.     A  second  organization 
of  German  singers  bearing  this  name 
had  its  home  in  BROOKLYN  borough. 
The  New  York  College  of  Music, 
founded  by  Alexander  Lambert,  gave 
complete    courses    in   music    in    1908 
under  the  direction  of  Carl  Hein  and 
August   Fraemoke.     These   gentlemen 
were  also  directors  of  the  New  York 
German    Conservatory    of    Music, 
which  was  empowered  by  law  to  confer 
degrees  and  diplomas.    The  American 
Institute  of  Applied  Music,  formerly 
the    Metropolitan    College   of   Music, 
gave  instruction  in  all  branches  when 
Kate  S.  Chittenden  was  dean  of  the 
faculty  which  consisted  of:   William 


NEXUS                      439  ITIECXS 

Maaoiij  Albert  Rosa  Parsons,  Harry  Nicht.    Ger.    Not. 

Rowe  Shelley,  Paul  Savage,  Paul  Am-  Nicode    (Jean    Louis)    composed 

brose,  H.  Rawlins  Baker,  Herwegh  von  "  Das  Meer,"  symphony  for  orchestra, 

Ende,  Modest  Altschuler,  Kate  S.  Chit-  organ,  male  chorus,  and  soli ;  "  Marie 

tenden,    William    F.    Sherman,    Gteo.  Stuart,"  "  Die  Jagdnach  dem  Gluck," 

Coleman  Gow,  McCall  Lanham,  Mary  "  Gloria  "  for  orchestra,  organ,  harps, 

Fidelia  Burt,  Adrienne  Remenyi  von  male  chorus,  and  boys'  voices;    sym- 

Ende,  Fannie  Greene,  Daniel  Gregory  phonic   variations    for   orchestra,   so- 

Mason,    Elsa    von    Grave,    Leslie    J.  nata  for  piano,  sonata  for  'cello,  song 

Hodgson.  cycles,    etc.;    played    piano,    taught 

Nexus.     L.     A  binding  together.  Dresden  Conservatory,  directed  Phil- 

Niccolini     (NicoliD.o     Grimaldi)  harmonic  concerts;   founded  the  Dres- 

sang   sopranist   and   later   alto   rSles  den  "  Neustadt  Chorgesangverein,"  of 

with    great    success    in    London    and  which  he  retained  the  direction  from 

Italy,  1694^-1723 ;  knight  of  the  Order  1893 ;    pupil  of  his  father,  of  Hart- 

of  St.  Mark;    librettist  and  poet.     B.  kass,  and  of  the  Neue  Akademie  der 

Naples,  1673;    d.  after  1726.  Tonnkunst.     B.  Jerczig,  German  Po- 

Nichelmaiiii  (Christoph)  com-  land,  Aug.  12,  1853;  add.  Dresden, 
posed  12  clavier  sonatas  and  concertos  Nicolai  (Carl  Otto  Ehrenfried) 
and  serenatas;  became  accompanist  composed  "Lustigen  Welber  von  Wind- 
to  Frederick  the  Great,  1744-56;  pu-  sor"  or  "MERRY  WIVES  OF  WIND- 
pil  of  Bach.  B.  Treuenbrietzen,  Bran-  SOR,"  and  "  Enrico  Secondo,"  "  II 
denburg,  Aug.  13,  1717;  d.  July  20,  Templario,"  "Odoardo,"  "Die  Heim- 
1762,  Berlin.  kehr  des  Verbannten,"  operas  which 
NichoU  (Horace  Wadham)  com-  attained  less  success ;  founded  the  Vi- 
posed  12  symphonic  preludes  and  lenna  Philharmonic  Society,  1842; 
fugues  for  organ,  a  cycle  of  four  ora-  conducted  the  Vienna  court  opera  and 
torios,  "Adam,"  "Abraham,"  "Isaac,"  the  Berlin  court  opera  and  Domehor; 
"  Jacob  " ;  two  symphonies,  the  sym-  pupil  at  first  of  his  father,  a  singing 
phonic  poems  "Tartarus,"  "Hamlet";  master,  then  of  Zelter  and  Klein,  and 
played  organ  Pittsburgh  churches,  finally  of  Baini  during  a  sojourn  at 
1871,  then  at  St.  Mark's,  New  York;  Rome  as  organist  of  the  Prussian' 
taxight  at  Farmington,  Conn.;  wrote  ambassador.  Besides  the  operas  enu- 
on  music;  in  early  life  organist  at  merated,  Nicolai  composed  a  sym- 
Dudley  and  Stoke  on  Trent,  Eng.;  phony,  a  requiem,  a  Te  Deum,  and 
pupil  of  his  father  and  of  S.  Prince,  many  songs.  B.  June  9,  1810,  Konigs- 
B.  Mar.  17,  1848,  Tipton,  near  Bir-  berg;  d.  May  11,  1849,  BerUn. 
mingham;  add.  Farmington.  Nicolai  (Dr.  Philip)  composed  and 
Nlcholls  (Agnes)  sang  sop.  in  wrote  the  chorales  "  Wachet  auf  ruft 
English  and  American  festivals  and  uns  die  Stimme,"  "  Wie  schon  leuehtet 
concerts,  with  occasional  operatic  ap-  uns  der  Morgenstern,"  published  in 
pearances,  the  Dewman,  Elvira,  Wog-  his  "  Freudenspiegel  des  ewigen  Le- 
linde,  and  Helmwige  at  Covent  Gar-  bans,"  Frankfort,  1599;  pastor  of  Lu- 
den,  1901-6;  pupil  Royal  College  of  theran  churches.  B.  Aug.  10,  1556, 
Music,  London.    B.  Cheltenham,  July  Mengeringhausen,   Waldeck;     d.   Oct. 

14,  1877;    m.  Hamilton  Harty,  July  26,  1608,  Hamburg. 

15.  1904;   add.  London.  Nicolini    (Ernest)    sang    ten     in 
Nicholson  (Charles)  composed  flute  opera,  debut,  1857,  Pans  Op«ra  Com- 

music ;   played  flute  London  opera  and  ique,  later  appearing  with  Patti,  whom 

concerts.    B.  1795,  Liverpool;   d.  Mar.  he  married,  Aug.  10,  1886;    pupil  of 

26   1837  London  tbe  Pans  Conservatoire.     B.  Feb.  23, 

Nicholson  (Richard)  composed  the  1834,  St.  Malo;    son  of  the  innkeeper 

madrigal   "Sing   Shepherds   all"   for  Nicholas;   d.  Jan.  19,  1898,  Pau. 

«  The  Triumphel  of  Oriana,"  1601 ;  or-  Nieoks   (Frederick)   wrote   '  Con- 

ganist  and  first  Heyther  Professor  of  cise    Dictionary   of   Musical    Terms, 

Music  at  Oxford.  B.  1595  or  96;  d.  1639.  1884,   "Frederic   Chopin,"    1888,   "A 


mEBEKMEYEB 


MO 


KILSSON  - 


History  of  Programme  Music  from  the 
l6th  Century  to  the  Present  Time," 
1907,  "  The  Nature  and  capacity  of 
Modern  Music  " ;  lectured;  Reid  Pro- 
fessor Edinburgh  University ;  Dr.  Mus., 
Dublin;  in  early  life  concert  violinist; 
pupil  of  his  father  and  of  Langhans, 
Grunewald,  Auer,  and  Tausch.  B. 
Dusseldorf,  Feb.  3,  1845;  add.  Edin- 
burgh. 

Niedermeyer  (Louis)  established 
the  Paris  music  school  which  bore 
his  name ;  composed  masses  and  other 
church  music,  the  operas  "  La  casa  nel 
bosco,"  Paris  Theatre  des  Italians, 
1828,  "Stradella,"  "Marie  Stuart," 
which  contained  the  popular  "  Adieu 
a  la  France,"  "Robert  Bruce,"  "La 
Fronde,"  1853,  "Le  Lac,"  and  other 
songs;  wrote  "  Mfithode  d'accompag- 
nement  du  Plain  Chant,"  1855;  pupil 
of  Moscheles  and  Forster,  Vienna,  Fi- 
oravanti,  Rome,  Zingarelli,  Naples. 
B.  April  27,  1802,  Nyon,  Switzerland; 
d.  Mar.  14,  1861,  Paris. 

Niederrlieinisclie  ICusikfeste,  or 
Lower  Rhine  Music  Festivals,  were 
established  on  the  plan  of  the  Thur- 
ingian  Festival  of  1811,  given  by  Dr. 
BISCHOFF,  and  are  held  triennially, 
_  and  in  rotation  at  Dusseldorf,  Aix-Ia- 
"  Chapelle,  and  Cologne.  The  first  took 
place  at  Elberfeld,  1817,  Johann 
Schornstein  conducting,  and  the  next 
three  were  held  alternately  at  Elber- 
feld and  Dfisseldorf,  but  from  1827  the 
order  of  rotation  above  given  has  been 
maintained,  except  when  interrupted 
by  political  disturbances.  Mendel- 
ssohn, Hiller,  Schumann,  Otto  Gold- 
schmidt,  and  Tausch  were  conductors. 

Niedersclilag.  Q-er.  Accented  por- 
tion of  a  measure. 

Niedt  (rriedrich  Erhardt)  wrote 
u  valuable  work  on  theory  published 
as  "Musikalische  Handleitung,"  Ham- 
burg, 1700-10 ;  notary  public  of  Jena. 
D.  about  1717,  Copenhagen. 

Niemanu  (Albert)  sang  ten.  in 
opera  at  Bayreuth  under  Wagner,  in 
New  York,  Paris,  and  London,  Berlin 
opera,  1866-88;  chamber  singer  to  the 
German  Emperor.  B.  Erxleben,  Mag- 
deburg, Jan.  15,  1831;    retired,  1888. 

Nietzsche  (Friedriohi)  wrote  "Rich- 
ard Wagner  in  Bayreuth,"  full  of  that 


composer's  praise,  and  "  Nietzsche 
contra  Wagner,"  attacking  him,  the 
philosophical  work  "  Also  Sprach  Za- 
rathustra,"  to  which  title  Strauss 
composed  a  symphonic  poem.  B.Oct. 
15,  1844,  Bocken,  near  Lutzen;  d.  in- 
sane, Aug.,  1900,  Basle. 

Night  Dancers.  Edward  J.  Loder's 
two-act  romantic  opera',  to  book  by  G. 
Soane,  based  on  the  ballet  "  Giselle," 
was  first  performed  Oct.  28,  1846,  at 
the  Princess  Theatre,  London. 

Nikisch.  (Arthur)  became  one  of 
the  foremost  of  the  world's  con- 
ductors; played  piano  admirably; 
composed  a  symphony  in  D  minor,  a 
violin  concerto,  a  "  Christnacht "  can- 
tata with  orchestra,  songs.  Son  of  the 
head  accountant  on  Baron  Sina's  es- 
tate in  Hungary,  Nikisch  displayed  a 
talent  for  music  at  three,  studied 
piano  and  theory  with  F.  Frochazka 
at  six,  wrote  out  the  piano  score  over- 
tures of  "William  Tell"  and  "Bar- 
bi6re "  at  seven  after  hearing  them 
played  once ;  made  his  debut  as  a  pian- 
ist at  eight,  and  entered  the  Vienna 
Conservatory  at  11,  pupil  of  Hellmea- 
berger,  Schenner,  and  Dessoflf.  At  13 
he  won  the  gold  medal  for  composition 
with  a  string  sextet,  the  first  prize  for 
violin  playing,  and  the  second  prize 
for  piano  playing.  After  playing  with 
the  first  violins  under  Wagner  at  the 
dedication  of  the  Bayreuth  Festspiel- 
haus,  he  entered  the  Vienna  court  or- 
chestra; then  joined  the  Leipsic  opera, 
and  became  conductor,  1879,  where  he 
remained  10  years.  For  four  years  from 
1889  he  was  conductor  of  the  Boston 
Symphony  Orchestra,  then  returned  to 
Europe  as  conductor  of  the  Budapest 
Opera,  and  on  the  retirement  of  Rein- 
ecke,  conductor  at  the  Gewandhaus, 
Leipsic,  a  post  he  retained  in  1908. 
He  was  then  also  conductor  of  the 
Berlin  Philharmonic  Orchestra,  which 
made  numerous  visits  to  other  Euro- 
pean capitals.  B.  Oct.  12,  1855;  m. 
the  singer  Amelie  Heusner;  add. 
Leipsic. 

Nilsson  (Christine)  sang  sop.  in 
opera,  debut  as  Violetta,  1864,  at  the 
Paris  Theatre  Lyrique,  possessed  a 
range  of  from  g  to  S.'",  excelling  in 
such  rSles  as  Marguerite,  The  Couu- 


KINETEENTH 


441 


NONENAKKORD 


tess,  Mignon,  Elsa,  and  Elvira;  a 
favourite  at  the  principal  European 
opera  houses  and  in  America,  where  she 
toured  several  seasons,  beginning  1870, 
under  management  of  Maurice  Stra- 
kosch;  pupil  of  Baroness  Leuhusen, 
F.  Berwald,  and  Wartel.  B.  Wexio, 
Sweden,  Aug.  20,  1843;  m.  Auguste 
Rouzeaud,  1872,  and  on  his  death. 
Count  Casa  di  Miranda,  1887;  re- 
tired, 1891. 

ITineteenth..  Interval  of  two  oc- 
taves and  a  fifth;  LARIGOT  or  or- 
gan stop  at  that  interval  from  the 
diapason. 

Ninna  or  Nanna.  It.  Cradle  song. 

Ninth..  Interval  of  an  octave  and 
a  second. 

Ninth,  Chord  of  the  lyiajor.  Also 
called  the  Added  Ninth,  because  com- 
posed of  a  chord  of  the  dominant  sev- 
enth with  the  addition  of  the  ninth, 
consists  of  thirds  starting  with  the 
dominant  of  the  scale,  and  has  five 
tones  and  therefore  four  inversions. 

Ninth,  Chord  of  the  Dlinor.  Com- 
posed of  a  dominant,  its  major  third, 
major  fifth,  minor  seventh,  and  minor 
ninth,  is  especially  valuable  for  the 
easy  modulations  it  affords.  The 
dominant  is  usually  omitted  in  inver- 
sions, which  consist,  therefore,  of  a 
combination  of  minor  thirds. 

Ninth,  Chord  of  the  Suspended, 
is  a  chord  of  the  ninth  on  the  tonic, 
often  used  as  a  prepared  discord. 

Niaard  (Theodore)  wrote  on  archse- 
ology  and  theory;  edited  collections 
of  Plain  Song;  ordained  priest,  1835; 
organist  St.  (jiennain,  Paris,  1842.  B. 
Jan.  27,  1812,  Quaregnon,  Belgium, 
real  name  Theodule  Eleazar  Xavier 
Normand;    d.  after  1854. 

Nissen,  von  (Georg  Nicolaus) 
wrote  a  biography  of  Mozart,  whose 
widow  he  married;  charge  d'affaires 
of  Denmark  at  Vienna.  B.  Jan.  22, 
1761,  Hadersleben,  Denmark;  d.  Mar. 
24,  1826,  Salzburg. 

Nixon  (Henry  George)  composed 
five  masses,  other  church  music ;  played 
organ  Southwark  Cathedral,  having 
previously  officiated  at  other  Roman 
Catholic  churches.  B.  Feb.  20,  1796, 
Winchester;  d.  1849,  London.  James 
Cassana  played  violin;  one  of  the  thir- 


teen children  of  HENRY  GEORGE. 
B.  1823;  d.  1842,  London.  Henry  Cot- 
ter composed  the  symphonic  poem 
"  Palemon  and  Arcite,"  the  overture 
"  Titania,"  songs,  chamber  music ; 
played  organ  in  London  churches.  K 
1842,  London;  son  of  HENRY 
GEORGE;  add.  London. 
Nobile.    /*.    Noble. 

Nobilita,  con,  or  Nobilmente.  It. 
With  nobility. 
Nocturne.     Fr.    NOTTURNO. 

Nocturns.  Portion  of  the  HOR^ 
CANONCiE  sung  during  the  night 
hours. 

Nodal  Lines,  showing  the  points 
at  which  there  is  least  vibration,  are 
formed  by  sand  when  scattered  over 
vibrating  membranes  or  plates. 

Node.  Portion  of  a  vibrating  body 
which  remains  in  a  state  of  rest. 

Nodus.  L.  "Elnot,"  a  puzzle 
CANON. 

Nodus  Salomonis.  Pietro  Valen- 
tini's  canon,  described  in  Kircher's 
"MUSURGIA,"  was  intended  to  be 
sung  by  24  choirs  with  a  total  of  06 
voices,  but,  as  Kircher  points  out, 
the  number  might  be  increased  to 
12,200,000. 

Noel.    Fr.    Christmas  carol. 

Nofre,     NEFER. 

Nohl  (Carl  Friedrich  Ludvig) 
edited  letters  of  Mozart  and  Beetho- 
ven; wrote  "Life  of  Beethoven," 
"Gluck  and  Wagner,"  works  of  Mozart 
and  Beethoven;  taught  music  and 
sesthetics,  Heidelberg  University.  B. 
Dec.  5,  1831,  Iserlohn,  Westphalia; 
d.  Dec.  16,  1885,  Heidelberg. 

Noire.  Fr.  "  Black,"  quarter  note 
or  crochet. 

Noise.  In  modern  usage  the  an- 
tithesis of  music,  but  in  obsolete  Eng- 
lish often  employed  as  its  synonym. 

Nola,  da  (Domenico)  composed 
madrigals,  villanelle;  chapelmaster  at 
the  Church  of  the  Annunziata,  Naples ; 
real  name  Don  Joan  Domenico  del 
Giovane.  B.  about  1525,  Nola,  Na- 
ples;  d.  after  1564. 

NomoB.    Or.    Song. 

Non.    It.    Not,  no. 

Nona.     It.    NINTH. 

Nonenakkord.  Oer.  Chord  of  the 
NINTH. 


NONES 


443 


NOIl]JIA 


Nones.  The  last  division  of  the 
HOE^  CANONC^. 

Nonet.  Composition  for  nine  in- 
struments or  voices. 

Nonne  Sanglante.  Charles  F. 
Gounod's  five-act  opera,  to  book  by 
Scribe  and  Delavigne,  based  on  Lewis's 
"  Monk,"  was  first  performed,  Oct.  18, 
1854,  at  the  Paris  Grand  Opera. 

Nonnetto.     It.    NONET. 

Non  Nobis  Bomine.  Celebrated 
perpetual  canon  supposed  to  have  been 
composed  by  William  Byrd,  and  sung 
in  England  after  public  dinners. 

Nonuplet.  Group  of  nine  notes 
played  in  the  time  of  six  or  eight. 

Noordt  or  Noorth,  van  (An- 
thony) composed  psalm  tunes  and 
six  organ  fantasias  in  tablature,  pub- 
lished at  Amsterdam,  1659,  where  he 
was  organist  of  the  Nieuwe  Kerk. 

Norcome  (Daniel),  composed  the 
madrigal  "  With  angel's  face  and 
brightness,"  published  in  "  The  Tri- 
umphes  of  Oriana,"  1601;  was  lay 
clerk  at  St.  George's,  Westminster,  but 
on  conversion  to  the  Roman  Catholic 
faith  joined  the  Viceregal  chapel  at 
Brussels.  B.  1576,  Windsor;  d.  Brus- 
sels after  1641. 

Nordica  (Lillian  Norton)  sang  sop. 
rSles  in  opera,  debut  April  30,  1879, 
Brescia,  as  Violetta  in  "  Traviata," 
afterwards  adding  such  parts  as  Lucia, 
Elvira,  Aida,  Selika,  Elsa,  Susanna, 
Isolde,  and  the  Brunnhildes,  appearing 
at  the  chief  operas  of  Europe,  at  the 
Metropolitan,  New  York,  1893,  1905, 
when  she  headed  the  sop.  forces  at  the 
Manhattan  Opera  House,  retiring  in 
the  midst  of  the  season  of  1907-8  to 
devote  herself  to  concert  engagements, 
in  which  she  had  achieved  success  in 
both  England  and  America.  Pupil  of 
O'Neill  at  the  New  England  Conserva- 
tory of  Music,  she  soon  became  a  church 
singer,  appeared  vrith  the  Haydn  and 
Handel  Society,  at  the  Thomas  con- 
certs, visited  England  as  soloist  of 
Gilmore's  band,  and  then  studied  in 
Milan  with  Sangiovanni.  In  1908 
Mme.  Nordica  (stage  name)  announced 
her  intention  of  establishing  an 
"  American  Bayreuth "  at  her  estate 
on  the  Hudson  River  just  above  New 
York  City.    B.  Farmington,  Me.,  May 


12,  1859;  m.  Frederick  Gower,  1882, 
after  his  death  the  singer  Zoltan  Dome, 
whom  she  divorced,  1906;  add.  New 
York. 

Nordisa.  F.  Corder's  three-act  ro- 
mantic opera,  to  his  own  book,  was 
first  performed  Jan.  26,  1887,  at  Liver- 
pool by  the  Carl  Rosa  Opera  Company. 

Nordraak  (Richard)  was  the  friend 
and  co-labourer  of  Greig  in  collecting 
and  editing  Norwegian  folk  music; 
composed  incidental  music  to  Bjorn- 
son's  "  Mary  Stuart  "  and  "  Sigurd 
Slembe."  B.  June  12,  1842,  Christi- 
ania;   d.  Mar.  20,  1866. 

Norma.  Vincenzo  Bellini's  two-act 
lOpera,  to  book  by  Romani,  was  first 
performed  Dec.  31,  1831,  Milan,  and 
later  with  complete  success  in  all  the 
principal  opera  houses  of  the  world. 
The  scene  is  laid  in  Gaul,  shortly  after 
the  Roman  conquest.  The  Druids  enter 
with  their  chief,  Orovfiso,  who  tells 
them  the  high  priestess  Norma  will 
soon  appear  to  cut  a  branch  from  the 
sacred  tree,  which  is  to  be  the  signal 
for  the  destruetion  of  the  Romans. 
The  high  priestess  has  secretly  mar- 
ried the  Roman  proconsul,  PoUione,  by 
whom  she  has  two  children.  The  Ro- 
man has  not  been  faithful,  but  plans  a 
flight  to  the  imperial  city  with  Adal- 
gisa,  one  of  the  temple  virgins.  In- 
stead of  declaring  war  against  Rome 
Norma  counsels  peace,  declaring  that 
the  time  has  not  yet  come  for  success 
in  war,  and  then  cuts  some  mistletoe 
which  she  offers  in  sacrifice  to  the 
goddess  of  the  Moon.  A  love  scene 
between  Pollione  and  Adalgisa  follows, 
and  the  young  priestess  seeks  Norma, 
begging  to  be  released  from  her  vows 
that  she  may  go  away  with  her  lover. 
Norma  grants  her  prayer,  but  when 
Pollione  is  pointed  out  as  the  lover  she 
is  filled  with  wrath,  and,  on  learning 
the  truth  about  Pollione,  Adalgisa 
joins  in  denouncing  him.  Norma's 
dwelling  is  shown  in  the  second  act. 
The  priestess  enters,  determined  to  kill 
her  children,  but  maternal  affection  is 
too  strong,  so  she  resolves  to  place  them 
in  Adalgisa's  care,  and  to  expiate  her 
fault  on  the  funeral  pyre.  Adalgisa 
dissuades  her,  declaring  that  Pollione 
will  return,  penitent  for  his  misdeeds. 


NOBICA   TBIO 


443 


NOTATION 


But  PoIIione,  madly  in  love,  attempts 
to  tear  Adalgisa  from  the  altar. 
Norma  enters,  summons  the  Druids  by 
striking  on  the  sacred  shield,  and  de- 
clares war.  Pollione  is  captured  be- 
fore he  can  leave  the  temple.  Norma 
offers,  if  he  will  renounce  Adalgisa,  to 
permit  his  escape.  He  refuses,  and 
she  threatens  to  denounce  Adalgisa, 
but,  overcome  by  pity,  confesses  her 
own  guilt.  Such  heroism  arouses  Pol- 
lione's  earlier  passion,  and  he  ascends 
the  funeral  pyre  with  her.  The  orig- 
inal east  included:  Norma,  Mme. 
Pasta,  sop.;  Adalgisa,  Mme.  Grisi, 
sop. ;  Pollione,  Donzelli,  ten.  The  prin- 
cipal musical  numbers  are:  Act  I: 
"Meco  all'  altar  di  Venere,"  Pollione; 
"Casta  diva,"  Norma;  "Ah!  bello  a 
me  ritorno,"  Norma ;  "  Sgombra  e  la 
saeraselva,"  Adalgisa;  "Va,  crudele," 
Pollione ;  "  Perdoni  e  ti  compiango," 
Norma  and  Adalgisa.  Act  II:  "Deh! 
con  te  li  prendi,"  Norma  and  Adalgisa ; 
"  Guerra,  guerra,"  Norma ;  "  In  mia 
mano  aliintu  sei,"  Norma;  "  Qual  cor- 
tradisti,"  Pollione. 

Norma  Trio  was  organized  in 
March,  1906,  for  the  purpose  of  giving 
chamber  music  concerts,  and  had 
booked  a  number  of  engagements  for 
New  York  and  vicinity  for  the  season 
of  1908-9.  The  members  in  that  sea- 
son were :  Norma  Sauter,  who  played 
violin;  pupil  of  H.  von  Danieck  and 
Franz  Kneisel.  B.  N.  Y.,  June  22, 
1886;  daughter  of  S.  S.  SAUTER. 
Cora  Sauter, who  played  'cello ;  pupil 
of  Karl  Grienauer  and  Leo  Schulz.  B. 
April  10,  1888;  sister  of  NORMA; 
add.  New  York  City.  Harriet  Bacon 
Macdonald,  who  played  piano;  pupil 
of  James  M.  Tracy  and  Carl  Baer- 
mann.  B.  Nov.  27,  1865;  m.  April, 
1893 ;  add.  New  York  City. 
Normal  Pitch.  Standard  PITCH. 
Normalton.  Oer.  Normal  PITCH. 
Normaltonart.  Oer.  The  normal 
or  natural  key  of  C  major  and  its  rela- 
tive minor  A.  .  .  j. 
Norman  (Barak)  made  instruments 
in  partnership  with  Nathaniel  Cross, 
London,  1688-1740. 

Norris  (Thomas)  composed  an- 
thems, six  symphonies,  glees,  catches, 
overture  to  "The  Tempest";  played 


organ  Christ  Church  Cathedral,  Ox- 
ford; in  boyhood  chorister  Salisbury 
Cathedral,  and  ten.  singer  in  later  life. 
B.  1741,  Mere,  near  Salisbury;  d.  1790, 
London. 

Norris  (William)  composed  an- 
thems, an  "  Ode  to  Saint  Cecilia's 
Day,"  a  service;  master  of  choristers, 
Lincoln  Cathedral ;  in  boyhood  a  chor- 
ister in  the  Eng.  Chapel  Royal.  D. 
about  1710. 

North  (Francis,  Lord  Guilford) 
wrote  "A  Philosophical  Treatise  on 
Music,"  1677;  Lord  Keeper,  but  an 
excellent  amateur  musician.  B.  1637, 
Kirtling,  Cambridgeshire;  d.  Sept.  5, 
1685.  The  Hon.  Roger  wrote  "Me- 
moires  of  Music,"  sketching  the  his- 
tory of  this  art  from  the  time  of  the 
Greeks  to  1728  (posth.,  1846);  be- 
came Attorney-General  to  James  II 
of  Eng.  B.  Sept.  3,  1653;  brother 
of  LORD  GUILFORD;  d.  Mar.  1, 
1733. 

Norwich  Festivals  were  held  as 
early  as  1770,  but  as  a  triennial  event 
date  from  1824.  The  conductors  have 
been  Sir  George  Smart,  Sir  Julius 
Benedict,  and  Alberto  Randegger. 
Many  works  by  English  composers 
have  had  their  first  performance  at 
these  concerts. 

Nota.  It.  "Note,"  as  Bianca, 
"white,"  or  half  note;  Buona,  ac- 
cented note;  Cambita  or  Cambiata, 
passing  note;  Caratteristica,  leading 
note ;  Cattiva,  unaccented  note ;  Con- 
tra Notam,  COUNTERPOINT;  Cor- 
onata,  holding  note ;  d'Abbellimento, 
grace  note ;  di  Fassagio,  passing  note ; 
di  Piacere,  grace  note  used  option- 
ally; Quadrata,  Plain  Song  note; 
Scolta,  staccato  note;  Sensibilis, 
leading  note;  Sostenuta,  sustained 
note. 

Notation  is  the  term  employed  for 
those  systems  of  symbols  whereby  com- 
positions in  music  may  be  permanently 
recorded.  Music  is  the  only  universal 
language,  and  the  notation  now  univer- 
sally used  has  resulted  from  a  process 
of  evolution  no  less  gradual  and  com- 
plex than  that  of  language  itself.  The 
ALPHABET  which  suffices  to  record 
such  ideas  as  may  be  expressed  in  words 
is    obviously   unfit   to   suggest   pitch, 


NOTATION 


444 


NOTATION 


rhythm,  the  combination  and  dui'ation 
of  tones,  to  say  notliing  of  the  rhetor- 
ical graces  and  shades  of  expression 
without  which  music  becomes  mechani- 
cal and  tedious.  If  any  man  shall  invent 
a  system  whereby  full  scores  can  be 
more  easily  read  than  the  examples  here 
reproduced,  he  will  be  a  public  bene- 
factor. Meantime  it  is  important  that 
the  difficulties  of  the  present  system  be 
not  exaggerated.  In  the  keyboard  of 
the  piano  and  other  instruments  having 
Equal  TEMPERAMENT,  the  Octave, 
that  is  to  say  the  range  of  tones  be- 
tween the  tone  resulting  from  any  given 
number  of  vibrations,  and  the  tone 
which  results  from  double  that  number 
of  vibrations,  is  divided  into  twelve 
nearly  equal  semitones.  There  is  a  differ- 
ence between  A  sharp  and  B  flat  when 
correctly  played  on  Instruments  of  the 
violin  family,  or  sung,  but  where  Equal 
Temperament  prevails  this  difference  is 
only  theoretical,  a  compromise  of  both 
semitones  sounded  by  a  black  key,  serv- 
ing for  each.    The  first  step  in  the  nota^ 


tion  of  pitch  is  the  Staff 


,  which 


consists  of  five  straight  horizontal  lines. 
If  the  range  of  tones  to  be  noted  shall  ex- 
ceed those  which  can  be  represented  on  or 
between  these  five  lines,  or  immediately 
below  the  lowest  or  above  the  highest 


line,  Ledger  Lines 


are  added. 


Since  it  is  more  convenient  to  record 
tones  without  resorting  to  Ledger  Lines, 
a  Clef  is  employed  to  accommodate  the 
compass  of  voices  and  instruments  to 
the  staff,  of  which  several  varieties  are 


employed.   The  G  Clef  stands 


Inl 


E 


for  e'  ( Middle  C ),  no  matter  what  its 
position  on  the  staff  may  be.  Whatever 
line  it  grips  represents  c',  and  when  it 
occurs  on  the  first  or  lowest  line  it  is 
called  the  Soprano  or  Discant  Clef;  on 
the  third  line  it  becomes  the  Alto  Clef; 
and  on  the  fourth  line  the  Tenor  Clef. 
The  most  important  Clefs  are  the  G  or 
Treble  Clef,  which  is  always  placed  on 
the  second  line,  and  the  F  or  Bass  Clef, 
both  of  which  are  essential  to  the  nota- 
tion of  music  for  the  piano.  The  staff 
modified  by  the  G  Clef  represents  the 
following  tones : 


$ 


-f/— B'- 


Modified  by  the  F  Clef,  the  Staff  repre- 
sents : 


s 


A  single  Ledger  Line  for  c'  is  sufficient 
to  bring  these  two  registers  together 
The  Staff  may  be  thus  compared  to  a  lad- 
der, the  rungs  and  spaces  of  which  indi- 
cate the  height  or  depth  of  a  tone.  But 
tlie  tones  indicated  by  the  Staff  are 
whole  tones  or  natural  tones,  such  as 
those  sounded  on  striking  only  the  white 
keys  of  the  piano.  The  semitones  are 
indicated  by  the  Sharp  ( # ),  which  when 
prefixed  to  a  note  raises  its  value  one 
semitone ;  the  Flat  ( |7 )  which  lowers  the 
note  to  which  it  is  prefixed  by  a  semi- 
tone i  and  the  Natural  (t] )  which  cancels 
the  effect  of  either  ^  Sharp  or  a  Flat.  The 
Double  Sharp  (  x  )  raises  the  value  of  a 
note  two  semitones;  the  Double  Flat 
( ??  )  lowers  its  value  two  semitones  i 
and  the  double  chromatics  are  cancelled 
by  the  Natural  in  combination  with  the 
Sharp  (ttJ);)  or  Plat  (91?).  Sharps,  Flats, 
and  Naturals  occurring  occasionally  in 
notation  are  called  Accidentals.  Only 
the  Natural  key  of  C  can  be  represented 
without  the  use  of  accidentals,  however, 
and  to  avoid  the  endless  repetition  of 
these  characters  throughout  a  composi- 
tion in  the  other  keys,  it  is  customary  to 
group  either  the  Sharps  or  Flats  neces- 
sary to  a  given  key  after  the  Clef,  indi- 
cating that  the  notes  which  follow  are 
to  be  modified  accordingly  until  further 
notice.  These  groups  of  Sharps  and 
Flats  indicating  the  key  are  called  the 
Signature,  and  the  signatures  of  the  vari- 
ous keys  are  as  follows,  the  signature  of 
a  major  key  serving  also  for  that  key's 
relative  minor,  although  the  tonic  of  the 
minor  key  is  a  minor  third  below  that  of 

thfe  major:   <^'  {  &  ) ;  G  {  &=  ); 


NOTATION 


445 


NOTATION 


of  rhythm  is  the  MEASURE,  which  is 
the  space  enclosed  between  two  Bars 


&> 


(^)*(^) 


The 


characters  which  have  now  been  given 
are  the  only  ones  now  used  to  represent 
pitch.  The  duration  of  a  tone  is  indi- 
cated by  the  shape  of  the  note  em- 
ployed, and  there  is  a  mark  of  silence 
or  Eest  for  each  note.  The  longest 
note  now  used  is  the  Breve  ( t  |*j  I )  which 
is  almost  obsolete;  then  the  Whole 
Note  or  Semibreve  ( iff ),  half  as  loDg  as 
the  Breve ;  the  Minim  or  Half  Note  {J^); 
the  Crochet  or  Quarter  Note  ( J ) ;  the 
Quaver  or  Eighth  Note  (J**) ;  the  Semi- 
quaver or  Sixteenth  Note  (  t\;    the 

Demisemiquaver  or  Thirty-second  Note 

the    Hemidemisemiquaver    or 


())  = 

Sixty-fourth  Note 


())■ 


The  eight  Rests 


corresponding  to  these  notes  are  (HZ), 

(■--),  U),(s),Ci),(q),  (^),  (3). 

The  actuar  duration  of  a  note,  however, 
is  again  modified  by  tempo,  a  thing 
which  the  METRONOME  now  renders 
exact.  "  M.M.  ^  =  100  ",  for  example, 
would  indicate  that  quarter  notes  are  to 
be  played  at  the  rate  of  100  per  minute. 
Verbal  directions  regarding  tempo,  such 
as  ANDANTE,  ALLEGRETTO,  AL- 
LEGRO, etc.,  without  such  Metronome 
marks,  are  highly  indeiinite.  Tempo 
has  already  been  used  as  meaning  speed, 
for  which  the  Italian  word  Movimento 
would  seem  a  better  term  ;  but  it  also 
means  TIME  or  RHYTHM.     The  unit 


j  "I),  and  contains  a  given  num- 


ber of  BEATS  determined  by  the  Time 
Signature.  In  modern  notation  the 
Semibreve  or  Whole  Note  is  the  com- 
mon length  of  a  Measure,  and  it  may  be 
indicated  by  g,  which  means  that  the 
Measure  includes  one  Semibreve  or  its 
equivalent,  or  J,  which  means  that  there 
are  four  beats,  each  of  the  value  of  a 
Crochet.  The  signature  for  Alia  Breve 
Time  is  C  with  a  perpendicular  line 
drawn  through  it  (fe),  or  |,  which  for- 
merly had  four  minims  to  the  Measure 
with  two  beats.  So-called  A  Capella 
time  has  the  same  signature.  For  all 
other  Time  Signatures  fractions  are 
employed,  the  upper  figure  giving  the 
number  of  beats  to  the  measure,  the  lower 
the  value  of  the  notes  or  their  equiva- 
lents. Rhythms  which  are  divisible 
by  two  are  called  Duple  or  Common 
Time.  Included  in  this  heading  are  the 
following  varieties:  f,  J,  },  J,  J,  f,  A,  |. 
Under  Compound  Duple  Time  are 
foand:  f ,  f,  f,  j\,  V,  V.  H.  *!• 
Rhythms  which  are  divisible  by  three 
are  called  Triple  Time.  The  figure  3 
serves  as  a  time  signature  for  y  as 
well  as  the  fraction.  Other  varieties  of 
Triple  Time  are  :  |,  f,  f.  Compound 
Triple  Times  are:  f,  f,  -A,  i,  and  f. 
For  the  notation  of  Pitch  in  the  body  of 
this  work  by  means  of  ACCENTS,  see 
Table  of  Abbreviations  or  C.  Defini- 
tions of  all  abbreviations  will  be  found 
under  their  proper  titles.  Numerals  are 
employed  to  indicate,  besides  Time, 
FINGERING,  CHORDS;  and  in  such 
combinations  as  4-tette,  Quartet ;  I-ma, 
Prima ;  Man.  1.,  Great  Organ ;  Man.  2., 
Choir  Organ ;  and  8va.,  OTTAVA.  The 
following  signs  in  notation  are  defined 
under  their  proper  titles:  DOT  (•); 
STACCATO  (i);  PERMATE,  C'^); 
Mezzo  STACCATO  (,-7>);  MAETEL- 
LATO  (H),  BIND,  TIE,  or  SLUR; 
(' — -y,  Mezzo  LEGATO,  (^TT^) 
TENUTO  or  PESANTE  (— );  Forte 
TENUTO,  (w);  Thumb  in  FINGER- 
ING,  (xor  +  )    PRESA,    (•8-or;8:); 


REPEAT 


m^^^- 


NOTATION 


446 


NOTATION 


CLASSIC  ORCHESTRATION 


FlaulD  g'u 


PrestisGtmo.  d  =  ia« 


BASaO. 

Viuloucetli 
Basso. 


Page  from  the  last  movement  of  Beethoven's  Ninth  or  "  Choral  "  Symphony,  the  words  being 
trom  bchiller  9     Qde  to  Joy."     Full  score,  reproduced  by  courtesy  of  Breitkopf  &  HHrtel. 


NOTATION 


U7 


NOTATION 


MODERN  ORCHESTRATION 


Page  from  the  last  act  of  Debussy's  "  PelMas  et  M^lisande,"  showing  the  beginning  of  the 
Finale.     Condensed  score,  reproduced  by  courtesy  of  A.  Durand  &  fils. 


NOTATION  448 

SEGNO,  (     ,:8:,^,§);   AEPEGGIO, 

(\\;    BRACE,    (I)      CRESCENDO, 

(-=:);  DIMINUENDO, 
TURN   i'^y,  TRILL    (tr 


NOTATION 

their   music.    "With   the   Roman  con- 
auest  of  the  world  the  Greek  system  of 


notation  disappeared,  and  by  the  fifth 
century  the  first  fifteen  letters  of  the 
Roman  alphabet  were  employed  to 
designate  the  degrees  of  the  scale.    The 


o 


DIRECT  (|/orir);  MORDENT,  (^V|VV  reduction  in  the  number  of  letters  to 

Breathine  places  are  indicated  by    ( '  seven   may  have  been  effected  by  St. 

or  //  / /o?  VV);  TRIPLETS,  (^JL..)  etc ;  GREGORY  THE  GREAT.    At  any  rate 

'      '  ■■  I  the  first  seven  Roman  letters  were  used 

ACCL&.CCATLTIA, /tStdV  APFOG-   in   noting   liturgical    music,    although 
.ixuux^v/v/.c>..i.u^i,^,l !_>,,.     ||,  ^j^^y  ceased   to   be   written   after   the 

eighth  century,  by  which  time  the  sys- 
tem of  dots,  accents,  and  other  signs 
known  collectively  as  NEUMAE  had 
come  into  general  use.  Reminders  of 
the  older  system  may  be  found  in  LUTE 
-J.  .  TABLATURE,  of  which  an  example 

;  j.    Other  signs  or   is  given  herewith ;  as  well  as  in  the  pres- 
d/  ent  names  of  the  tones  of  the  scale,  anc 


GIATURA, 


Double  APPOG- 


GIATURA, 


and 


NEUMAE  employed  in  Notation 

J  /  9  ;;;/}•  1 1  /  J  MI  i*  J 

Lbttehs 
ft        f     gd       AT         cfgfd         d   gg    hg     hi    h      kk     lig      cf 

Notation  of  XIII  Centtiry 


=^ 


♦  ■ 


^ 


^^=P 


Modern  Notatioji 


characters  are  sometimes  employed  for 
special  instruments.  Thus  in  organ 
music,  (♦(■^>+)  mean  release  dam- 
per pedal;    (  |V\|  ,  [_!  )    show    where 

peial  is  to  be  pressed  and  released; 
A — I  I    ,  \,  heel  and   toe.      In   violin 

music,  (w)means  up  bow;  (|~l)  down 
bow,  etc.  The  notation  of  Greek  music 
was  accomplished  by  means  of  the  let- 
ters of  the  alphabet  arranged  in  conven- 
tional forms,  upright,  inverted,  or 
slantwise,  which  served  well  enough 
for  the  record  of  melodies,  although  the 
system'  was  complex  and  would  have 
been  useless  had  the  Greeks  harmon  zed 


of  the  clefs.  The  Neumae  in  themselves, 
however,  whileservingtheiroriginal  pur- 
pose of  ACCENTS  admirably,  and  like- 
wise showing  the  number  of  notes  to  be 
sung  to  a  given  portion  of  text,  failed  to 
indicate  pitch,  and  were  at  best,  there- 
fore, merely  aids  to  the  memory  of  the 
singers,  who  were  required  to  learn  the 
melodies  by  rote  and  tradition.  Toward 
the  close  of  the  eighth  century,  abbre- 
viations for  tempo  and  expression  first 
came  into  use,  and  manuscripts  pre- 
served hythe  Roman  Catholic  Church 
show  the  first  trace  of  the  present  sys- 
tem of  notation  about  900.  A  red  line 
occurs  in  these  manuscripts,  drawn 
above  the  text  and  marked  F.    All  neu- 


NOTATION  449 

mae  placed  on  this  red  line  were  then 
understood  to  represent  f,  while  such  as 
appeared  above  the  line  were  of  higher 
pitch,  and  those  below  the  line,  of  lower 
pitch.  The  next  advance  in  notation 
was  the  addition  of  a  second  line,  this 
time  of  yellow,  to  indicate  c'.  HUC- 
BALD,  a  monk  of  St.  Amand  in  the 
tenth  century,  invented  a  staff  of 
many  lines  in  which  the  spaces  indi- 
cated the  tones  and  semitones  of  the 
scale,  the  text  being  written  in  the 
spaces.  He  complicated  his  system  by 
reverting  to  the  Greek  tetrachoral  char- 
acters, and  it  soon  fell  into  disuse. 
Early  in  the  eleventh  century,  G-UIDO 
of  Arezzo  either  invented  the  four  line 
staff  or  adapted  the  idea  froiu  some 
.other  churchman,  whereon  as  with  us, 
notes  were  written  on  both  lines  and 


NOTJBIIIT 

vocal  part  is  given  above  the  instrumen- 
tal accompaniment,  and  the  parts  are 
united  by  bars.  A  page  from  Beetho- 
ven's NINTH  SYMPHONY,  full  score, 
and  a  page  from  Debussy's  PELLBAS 
ET  MELISANDE,  are  here  reproduced 
as  interesting  specimens  of  classic  and 
present  day  notation  in  music. 

Note.  Character  representing  a  mu- 
sical tone ;  hence  the  tone  represented. 

Notazione  Husicale.  It.  Musical 
NOTATION. 

Notker  ("  Babulus ")  wrote  on 
Plain  Song  and  the  Boumanian  letters 
used  in  notation,  essays  reprinted  by 
Gerbert;  monk  of  St.  Gall  and  com- 
poser.   B.  about  840;   d.  912. 

Notot  (Joseph)  composed  four  sym- 
phonies,   three    piano    concertos,    so- 


Specimen  of  Lute  TABLATURE 


J    J    ;  j^  /;;//;;  J   J 


Translation :  — 


spaces.  By  the  thirteenth  century  the  natas;  played  organ,  Arras  and  Pans; 
fifth  line  was  added,  and  the  neumae  settled  in  London  on  outbreak  of 
had  begun  to  disappear  before  the  Large,  French  Revolution;  pupil  of  Leclerc. 
the  Double  Long,  the  Long  and  the  B.  1755,  Arras;  d.  England. 
Breve,  prototypes  of  the  notes  now  in  Nottebohm  (Martin  Chistav)  wrote 
use.  The  next  important  step  in  the  "  Beethoveniana  "  and  other  valuable 
development  of  notation  was  the  adop-  works  on  that  composer  and  on  Schu- 
tion  of  the  Bar  from  Lute  Tablature,  bert;  performed  valuable  services  as 
and  with  it  a  more  definite  rhythmic  editor  of  Bach,  Handel,  Mozart,  Bee- 
form  than  had  been  possible  or  indeed  thoven,  Mendelssohn;  pupil  of  Berger 
needful  in  earlier  notation.  Then  ^^^  Dehn.  B.  Nov.  12,  1817,  near  Ans- 
came  the  abandonment  of  the  church  t^  Westphalia;  d.  Oct.  29,  1882, 
MODES   for  the  modern   Major  and   ^^^^^  '^ 

Minor  Scales,  since  which  time  the  ten- 


dency has  been  to  simplify  as  far  as  pos- 
sible whatever  difficulties  remained  in 
the  recording  of  music.  Thus  the 
GRACES  which  proved  so  troublesome 
to  students  a  few  generations  ago  have 
nearly  all  become  obsolete.  The  first 
full  score  of  record  Is  that  of  Peris 
"Euridice,"  1600.     In  that  work  the 


Gratz. 

Notturno.  /*.  At  first  a  serenade, 
the  name  is  now  indiscriminately  ap- 
plied to  compositions  of  quiet,  simple 
style.  ,       ,    . 

Notula.  L.  Notes  employed  in 
writing  ligatures. 

Nourrit  (Louis)  sang  ten.  in  opera, 
debut  as  Renaud  in  "  Armide,"  Paria 

29 


NOURSINGH 


450 


ITOZZE    BI   FIGARO 


Opfira;  prize  pupil  Paris  Conserva- 
toire. B.  Montpellier,  Aug.  4,  1780; 
d.  Sept.  23,  1831.  Adolphe  sang  ten. 
in  opera,  creating  such  rSles  as  Ma- 
saniello,  Arnold  in  "William  Tell," 
Eleazar  in  "La  Jmve,"  debut  1821, 
Paris  Op6ra;  wrote  libretti  of  ballets; 
taught  Paris  Conservatoire;  pupil  of 
his  father,  LOUIS,  and  of  Garcia.  B. 
Mar.  3,  1802,  Paris;  killed  himself. 
Mar.  8,  1839,  Naples. 

Noursingh.  East  Indian  horn  or 
trumpet. 

Novacek  (Ottokar)  composed  three 
string  quartets,  six  songs  to  vpords 
by  Tolstoi,  two  concerto  caprices  for 
piano  and  eight  for  violin  and  piano, 
Perpetuum  Mobile  for  violin  with  or- 
chestra, Bulgarian  dances  for  violin 
and  orchestra;  played  violin  under 
Nikisch,  Boston  Symphony  Orchestra, 
solo  viola,  Damrosch  orchestra;  in 
early  life  violinist  with  Gewandhaus 
orchestra  and  viola  with  Brodsky 
quartet;  pupil  of  Schradieck  and 
Brodsky;  won  Mendelssohn  prize, 
Leipsic  Conservatory,  1885.  B.  May 
13,  1866,  Fehertemplom,  Hungary;  d. 
Feb.  3,  1900,  New  York. 

Kovak  (Vitezslav)  composed  songs, 
choruses,  chamber  music,  overtures, 
the  symphonic  poems  "  Eternal  Long- 
ing" and  "On  the  lofty  Tatra"; 
pupil  of  Prague  Conservatory.    B.  Dec. 

5,  1870,  Kamenitz,  Bohemia;  add. 
Prague. 

ITovelletten.  Title  given  to  his 
piano  soli.  Op.  21,  by  Schumann. 

Novello  (Vincent)  founded  the  pub- 
lishing house  of  NOVELLO  &  CO., 
London,  1811 ;  composed  masses,  mo- 
tets, the  "  Infant's  Prayer,"  a  song 
for  the  boy  chorister,  which  sold 
100,000  copies;  collected  and  edited 
classic  music;  helped  found  London 
Philharmonic  Society;  played  organ, 
piano;  in  boyhood  chorister  in  the 
Sardinian  Chapel,  London.     B.  Sept. 

6,  1781,  London;  d.  Aug.  9,  1861, 
Nice.  Cecilia  sang  in  opera ;  pupil  of 
Mrs.  Blane  Hunt.  Daughter  of  VIN- 
CENT; d.  June  20,  1890,  Genoa. 
Clara  Anastasia  sang  sop.  in  opera, 
debut  at  Padua,  1841 ;  but  retired  two 
years  later  on  her  marriage  to  Count 
Gigliucci;    pupil  Paris  Conservatoire. 


B.  June  10,  1818,  daughter  of  VIN- 
CENT; settled  in  Italy,  1860.  Mary 
Sabilla  sang  sop.;  translated  works 
on  theory  into  English;  daughter  of 
VINCENT.  D.  Jan.  8,  1904,  Genoa. 
Joseph  Alfred  continued  the  publish- 
ing business  established  by  his  father, 
VINCENT;  sang  bass.  B.  Aug.  11, 
1810;    d.  July   16,  1896,  Genoa. 

Novello  &  Co.,  founded  in  1811  by 
VINCENT  NOVELLO,  at  first  made 
a  specialty  of  publishing  sacred  music, 
then  began  to  issue  editions  of  the 
classics  at  popular  prices.  Henry 
Littleton,  who  had  been  connected 
with  the  firm  since  1841,  was  admitted 
to  partnership,  1861,  became  sole  pro- 
prietor five  years  later,  and  in  1867 
acquired  the  copyright  of  Mendels- 
sohn's works  by  buying  the  busi- 
ness of  Ewer  &  Co.,  when  the  house 
adopted  the  style  of  Novello,  Ewer 
&  Co.  Mr.  Littleton  died  May  11, 
1888,  and  was  succeeded  by  his  two 
sons. 

Noverre  (Jean  Georges)  composed 
ballets  for  the  courts  of  Wiirtemberg, 
Vienna,  Paris,  producing  his  "Lea 
Noces  de  Thetis"  and  "Iphigenie  in 
Aulide  "  in  London  after  the  French 
Revolution ;  said  to  have  invented  the 
"  ballet  d'action  " ;  wrote  on  dancing, 
and  was  dancing  master  to  the  Im- 
perial family  at  Vienna ;  knight  of  the 
Order  of  Christ.  B.  April  29,  1727, 
Paris;    d.  about  1810. 

Nowell.    Old  English  for  NOEL. 

Nozze  di  Figaro.  Wolfgang  Ama- 
deus  Mozart's  four-act  opera  buffa, 
to  book  by  da  Ponte  after  the  Beau- 
marchais  comedy,  "Le  Mariage  de 
Figaro,"  was  first  performed  May  1, 
1789,  at  the  Vienna  National  Theatre, 
and,  though  soon  withdrawn  there,  hag 
remained  one  of  the  best  loved  works 
of  its  class  throughout  the  world.  The 
first  part  of  the  adventures  of  the 
illustrious  Figaro  are  given  in  the 
"BARBER  OF  SEVILLE."  Alma- 
viva,  somewhat  wearied  of  his  lovely 
countess,  makes  love  to  '  her  maid, 
Susanna,  with  whom  Figaro  is  deeply 
enamoured.  Susanna  and  the  Countess 
conspire  to  arouse  the  jealousy  of 
Almaviva  by  means  of  the  page  Cheru- 
bino,  to  whom  the  Countess  pays  many 


NOZZE    DI   EIOARO 


451 


Ntruo 


attentions.  They  are  completely  suc- 
cessful in  this,  but  the  Count  is  none 
the  less  determined  to  exercise  his 
seigneurial  rights  over  Susanna,  and 
Figaro  is  equally  determined  to  keep 
Susanna  for  himself.  Meantime  mat- 
ters are  complicated  by  Bartolo,  who 
has  been  rejected  by  Susanna,  and 
Marcellina,  who  holds  a  written  prom- 
ise of  marriage  from  Figaro.  They 
unite  to  prevent  the  happiness  of  their 
faithless  loves.  The  Count  is  delighted 
at  having  an  excuse  for  forcing  Fi- 
garo to  marry  any  one  other  than 
Susanna,  but  Figaro  proves  that  he  is 
really  the  son  of  Bartolo  and  Marcel- 
lina, and  has  a  happy  reunion  with  his 
long  lost  parents.  The  Count  tries  to 
rid  himself  of  Cherubino  by  giving  him 
a  captain's  commission  and  sending 
him  to  the  wars.  The  Countess  and 
Susanna  disguise  the  page  in  women's 
clothes,  but,  although  the  Count  rec- 
ognizes him,  he  has  received  a  note 
from  Susanna  appointing  a  meeting, 
and  does  nothing  to  prevent  the  long 
delayed  marriage  ceremony  at  which 
Figaro  and  Susanna  and  Bartolo  and 
Marcellina  are  united.  The  final  act 
represents  a  garden  at  night.  Su- 
sanna and  the  Countess  have  ex- 
changed clothing.  The  Count  mistakes 
his  wife  for  Susanna;  the  page,  who 
has  tried  to  flirt  with  the  Countess, 
whom  he  believes  to  be  Susanna,  con- 
soles himself  with  Barberina,  and  Fi- 
garo, mad  with  rage,  is  delighted  when 
he  finds  that  the  supposed  Countess  is 
really  his  Susanna.  Finding  Figaro 
with  the  woman  he  assumes  to  be  his 
wife,  the  Count  calls  for  lights,  the 
women  unveil,  the  Count  humbly  sup- 
plicates pardon  for  his  conduct,  the 
Countess  graciously  consents  to  be  re- 
conciled to  her  husband,  and,  of  course, 
Figaro  and  Susanna  are  left  to  their 
happiness.  The  music  reveals  Mozart 
at  his  best,  and  in  writing  of  the  first 
performance,  Kelly  records:  "Never 
was  there  a  greater  triumph."  The 
original  cast  included:  Almaviva, 
Mandini,  bar.;  Figaro,  Benueci,  bass; 
Basilio  and  Don  Curzio,  Oecheley 
(Michael  Kelly),  ten.;  Cheru- 
bino, Mandini,  sop.;  the  Countess, 
Storace,  sop.;    Susanna,  Laschi,  sop.; 


Marcellina,  Bussani,  mez.  sop.;  Bar- 
barina,  Gottlieb,  sop.  The  chief  num- 
bers are :  Act  I :  "  Se  vuol  ballare, 
Signor  Contino,"  Figaro ;  "  La  Ven- 
detta," Bartolo ;  "  Non  so  piil  ooaa 
son,"  Cherubino ;  "  Cosa  sento  ?  tosto 
andate,"  Almaviva,  Basilio,  Susanna; 
"  Non  pift  andrai,"  Figaro ;  Act  II : 
"  Porgi  amor,"  the  Countess ;  "  Voi  che 
sapete,"  Cherubino ;  "  Venite  inginoc- 
chiatevi,"  Susanna ;  Act  III :  "  Cru- 
del!  perche  finora,"  Almaviva  and  the 
Countess ;  "  Kiconosci  in  questo  am- 
plesso,"  sextet ;  "  Dove  sono,"  the 
Countess ;  "  Canzonetta  sull'  aria " 
(Zephyr  duet),  the  Countess  and  Su- 
sanna ;  "  In  quegl'  anni,"  Basilio ; 
"  Ecco  la  marcia,"  Figaro;  Act  IV: 
"  Deh,  vieni,  non  tardar,"  Susanna. 

Nuances.  Fr.  "  Shades "  of  ex- 
pression in  music. 

Number.  Integral  portion  of  a  mu- 
sical composition. 

Numerus.    L.    Number,  rhythm. 

Nunc  Dimittis.  The  canticle  of 
Simeon,  Luke  ii,  29-32,  is  sung 
in  the  Anglican  Evening  Service  al- 
ternately with  the  Deus  Misereatur. 
In  the  Latin  ritual  it  is  sung  at 
Compline. 

Nuno  (Jaime)  composed  the 
MEXICAN  NATIONAL  HYMN; 
taught  music  in  Buffalo,  N.  Y.,  52 
years.  Born  and  educated  in  Spain, 
Nuno  was  sent  to  Cuba  as  bandmaster 
for  the  military  bands  in  the  island, 
and  he  met  General  Santa  Ana,  1851, 
by  whose  invitation  he  later  went 
to  Mexico  City  when  Santa  Ana  be- 
came President.  He  was  driven  from 
Mexico  by  a  revolution,  settled  in 
Buffalo,  where  he  soon  obtained  a 
number  of  pupils.  In  1864  he  again 
visited  Mexico,  but  political  condi- 
tions prevented  him  from  being  well 
received.  In  1901  Capt.  Hernandez, 
millitary  attache  of  President  Diaz, 
visited  Buffalo  on  business  connected 
with  the  Pan-American  Exposition, 
met  Nuno,  and  on  his  return  to  Mex- 
ico, began  an  agitation  for  the  com- 
poser's recognition.  The  newspaper 
"El  Plis"  lent  its  aid,  and  in  Sep- 
tember, 1901,  the  veteran  musician 
made  a  triiunphal  tour  of  Mexico,  was 
received  with  national  salutes,  heard 


NtJOVI 


452 


OBOE 


his  hymn  sung  by  choruses  of  children, 
received  a  chaplet  of  gold  from  Mex- 
ico City,  a  silver  medal  from  Pueblo, 
a  handsome  purse  raised  by  popular 
subscription,  in  a  word,  such  an  ova- 
tion as  had  never  been  accorded  a 
composer  in  America  before.  Then 
Nuno  returned  to  his  home  in  Buffalo, 
and  died  July  19,  1908,  while  visiting 
at  Bay  Side,  L.  I.  He  was  buried  in 
Buffalo  the  following  week. 

Nuovi,  di.    It.    Again. 

Nut.  Fixed  bridge  at  the  upper  end 
of  the  fingerboard  of  instruments  of 
the  viol  and  guitar  families,  over 
which  the  strings  are  passed;  mechan- 
ism of  the  bow  by  which  the  hairs  may 
be  either  tightened  or  slackened. 

mux.  or  Nucius  (Joaniies)  com- 
posed two  books  of  motets  published 
at  Prague  and  Liegnitz,  1591-1609; 
wrote  on  theory;  abbot  of  the  Cis- 
tercian Abbey  of  Himmelwitz.  B. 
1556,  Gorlitz,  Silesia;    d.  1620. 

Nux,  de  la  (Paul  Veronge)  com- 
posed the  two-act  opera  "  Zaire," 
Paris  Op6ra,  1889,  the  music  drama 
"  Labdacides";  pupil  of  F.  Bazin, 
Paris  Conservatoire,  where  he  won  the 
second  grand  prize,  1876.  B.  June  29, 
1853,  Fontainebleau;   add.  Paris. 


O  indicates  an  open  string;  har- 
monic; diminished  fifth;  that  a  note 
must  be  played  with  the  thumb;  In 
obsolete  NOTATION  indicated  TEM- 
PUS  perfectum. 

O.    It.    Or. 

Oakeley  (Dr.  Sir  Herbert  Stanley) 
composed  a  "  Jubilee  Album  "  of  songs 
dedicated  to  Queen  Victoria,  a  "  Jubi- 
lee Lyric  "  or  cantata,  "  Suite  in  the 
Olden  Style,"  festival  march,  funeral 
march,  anthems,  morning  and  evening 
services,  piano  sonata;  became  pro- 
fessor of  music,  Edinburgh  University; 
M.A.,  Oxford;  Mus.  Dr.,  Dublin; 
LL.D.,  Oxford;  composer  to  the  Queen 
in  Scotland,  knight,  1876;  conducted 
REID  CONCERTS;  played  organ; 
pupil  of  Elvey,  Schneider,  Leipsic,  and 
Breidenstein,  Bonn.  B.  July  22,  1830, 
Ealing;  son  of  Sir  H.  Oakeley,  Bart.; 
d.  Oct.  26,  1903.  See  biography  by  E. 
M.  Oakeley,  his  brother. 


Oaten  Pipe.  Straw  cut  to  form  a 
reed-pipe. 

Ob.  Abbreviation  of  Oboe  and  of 
Obbligato. 

Obbllgato.  It.  An  obligatory  part 
or  accompaniment. 

Obehoffer  (Emil)  composed  songs 
and  church  music;  conducted  the 
Minneapolis  Philharmonic  Club,  an 
oratorio  society  of  330  mixed  voices, 
and  the  symphony  orchestra  of  70 
men;  pupil  of  Cyril  Kistler  and  laa- 
dore  Philipp.  B.  Aug.  10,  1867, 
Munich;    add.  Minneapolis,  Minn. 

Ober.  Ger.  "  Over,  upper,"  as 
IVCanual,  upper  manual;  Stimme, 
upper  part  or  voice ;  Ton,  overtone  or 
harmonic;  Werk,  in  an  organ  with 
two  manuals,  the  choir  organ;  with 
three,  the  swell;  with  four,  the  solo 
organ. 

Obermeyer  (Joseph)  played  violin 
in  the  service  of  Count  Vincent  Wald- 
stein;  pupil  of  Kamel  and  Tartini. 
B.  1749,  Nezabudicz,  Bohemia;  d.  after 
1816. 

Obertas.  National  Polish  dance  re- 
sembling the  Mazourka. 

Oberthur  (Charles)  composed  the 
operas  "  Floris  von  Namur,"  "  Der 
Berggeist  des  Harzes,"  Wiesbaden;  the 
"  St  Philip  de  Neri "  grand  mass,  the 
cantatas  "  Lady  Jane  Grey,"  "  Pil- 
grim Queen,"  "Red  Cross  Knight"; 
"  Macbeth,"  and  "  Rubezahl,"  over- 
tures, "  Loreley  "  for  harp  and  orches- 
tra, chamber  music,  and  harp  pieces; 
played  harp.  B.  Mar.  4,  1819,  Munich; 
d.  Nov.  8,  1895,  London. 

Oblige.    Fr.    OBBLIGATO. 

Oblique  Piano.  Small  PIANO  with 
strings  set  diagonally  in  an  upright 
case,  invented  by  Robert  Wornum, 
London,  1811. 

Oblique  Motion  is  said  to  occur 
where  one  part  moves,  the  other  re- 
maining stationary. 

Oboe.  Orchestral  instrument  of 
wood  with  conical  bore,  played  by 
means  of  a  double  reed  and  having 
9  to  14  keys,  with  an  extreme  com- 
pass of  b  flat  to  f"  with  all  inter- 
mediate semitones.  The  oboe  is  of  pre- 
historic origin,  has  undergone  many 
changes  in  modern  times  until  it  has 
become  the  moat  complicated  and  dif- 


OBOE 


453 


OBDIPXJS 


ficult  of  the  woodwinds.  Varieties  of 
the  oboe  were  known  in  the  Middle 
Ages  as  the  Chalumeau,  Schalmey, 
Shalm,  or  Shawm.  Handel  and  Mo- 
zart assigned  the  oboe  a  prominent 
place  in  their  scores,  and  its  peculiar 
pastoral  reedy  quality  has  insured 
equal  favour  from  more  recent  com- 
posers. The  oboe  chiefly  in  use  in 
orchestras  is  set  in  C,  but  sometimes 
in  B  flat  or  E  flat  for  military  bands. 
The  COR  ANGLAIS  is  an  oboe  with 
compass  a  fifth  lower  than  that  in- 
dicated above,  and  slightly  different 
quality. 

Oboe. .  Reed  pipe  organ  stop  of 
8-ft.  pitch,  with  quality  resembling 
that  of  the  orchestral  oboe. 

Oboe  d'Amore.  An  oboe  in  A  with 
compass  a  minor  third  below  that  of 
the  ordinary  oboe,  and  a  veiled  tone, 
due  its  hollow  globular  bell. 

Oboe  di  Caccia.  "Hunting  oboe.'' 
An  oboe  standing  in  F  or  E  flat,  for 
which  music  was  written  on  the  alto 
clef. 

Oboist.    Oboe  player. 

Oboista.    /*.    OBOIST. 

Obrecht  (Jacob)  composed  church 
music,  of  which  eight  masses  were  pub- 
lished, and  the  "  Fortuna  desparata," 
reprinted,  Amsterdam,  1870;  30  chan- 
sons and  motets  still  extant;  chapel- 
master,  Antwerp  Cathedral,  1491,  in 
early  life  ehapelmaster  at  Utrecht, 
where  Erasmus  was  his  pupil;  lived 
also  in  Cambrai,  Bruges,  Ferrara,  and 
Florence.  B.  about  1430,  Utrecht;  d. 
after  1500. 

Oca  der  Cairo.  Wolfgang  Amadeus 
Mozart's  two-act  opera  buffa,  to  book 
by  Varesco,  was  left  unflnished,  owing 
to  the  composer's  dissatisfaction  with 
the  plot,  but  was  patched  up  with  other 
of  Mozart's  compositions  and  flrst  per- 
formed June  6,  1867,  at  the  Paris 
Theatre  des  Fantaisies. 

Ocarina.  Terra  cotta  toy  instru- 
ment of  sweet,  soft  tone. 

O'Carolan  (Turlogh.)  composed 
"  Bumpers  Squire  Jones,"  "  One  bottle 
more,"  "The  Receipt  for  Drinking 
Whiskey,"  "O'Rouke's  noble  feast"; 
was  the  last  and  most  famous  of  the 
Irish  bards;  the  welcome  guest  of  the 
Irish  gentry  and  nobility;    a  harpist 


of  ability,  though  blind;  had  60  clergy 
of  different  denominations  at  his  fu- 
neral, and  was  buried  in  the  plot  of 
his  friend  and  patron  The  MacDermot 
Roe.  B.  1670,  Newtown,  Heath;  d. 
Mar.  25,  1738. 

Occasional  Oratorio.  George  Fred- 
erick Handel's  work,  consisting  of  an 
overture  and  three  parts  to  selections 
from  Milton's  Psalms,  with  additions 
by  Dr.  Morell,  was  flrst  performed  at 
Covent  Garden,  1746.  The  principal 
numbers  will  be  found  in  his  "  Judas 
Maccabeus  "  and  "  Israel  in  Egypt." 

Ochetto.    HOCHET. 

Ochsenkuhn  (Sebastian)  compiled 
a  German  tablature  lute-book  contain- 
ing transcriptions  of  French  and  Ger- 
man songs  and  motets,  Heidelberg, 
1558;  lutenist  to  the  Coimts  Palatine 
of  the  Rhine.  B.  Feb.  6,  1521;  d. 
Aug.  20,  1574,  Heidelberg. 

Octave.  Interval  of  an  eighth; 
eight  days  following  a  church  feast; 
organ  stop  of  8  ft.  pitch  on  the  pedal 
or  4  ft.  pitch  on  the  manual;  the 
Greek  diapason. 

Octave  riute.    PICCOLO. 

Octet.    Eight-part  composition. 

Ootiphonium.    L.    OCTET. 

Octuor.    Fr.    OCTET. 

Octuplet.  Group  of  eight  equal 
notes. 

Ode.    Elaborate  poem  in  lyric  form. 

Odington,  de  (Walter)  wrote  "De 
Speculatione  Musices,"  giving  impor- 
tant information  on  rhythms  of  the 
13th  century;  English  Benedictine 
monk  of  Evesham.  B.  Gloucester- 
shire;   d.  after  1330. 

Odo  (Abbot  of  Cluny)  composed 
three  hymns  and  12  antiphons  in 
honour  of  St.  Martin;  wrote  "Dia- 
logus  de  Musica"  and  other  theoret- 
ical works,  reprinted  by  Gerbert  and 
de  Coussemaker;  took  orders  at  19; 
studied  music  in  Paris  with  Remy 
d'Auxerre;  became  archicantor,  St. 
Martin's  monastery,  Tours;  choir- 
master to  the  Benedictines  of  Beaume ; 
abbot  of  Cluny,  927-42.  B.  879;  d. 
Nov.  18,  942. 

Oedipus.  Felix  Mendelssohn  com- 
posed music  to  the  "Antigone,"  "Oedi- 
pus Tyrannus,"  and  "Oedipus  at  Co- 
lonos"  of  Sophicles,  by  order  of  the 


OEGLIN 


454 


OKEOHEH 


King  of  Prussia.  The  first  and  last 
works  were  performed  in  1841  and 
1845,  but  the  music  of  "Oedinus  lyran- 
nus,"  "completely  sketched"  in  1845, 
has  been  lost.  Sir  C.  V.  Stanford's 
music  to  "  Oedipus  Tyrannus "  was 
first  performed, Nov.  22,  1887,  at  Cam- 
bridge, Bng. 

Oeglin  (Erhart)  published  music 
at  Augsburg,  1507-12,  introducing  the 
metal  type  of  Petrucci. 

Oesten  (Theodor)  composed  dance 
music  and  salon  pieces;  taught  in 
Berlin.  B.  Dec.  31,  1813,  Berlin;  d. 
Mar.  16,  1870,  Berlin. 

Oeuvre.    Fr.    Work  or  opus. 

OfEen.    Gfer.    OPEN. 

Offenbach  (Jacques  Levy)  com- 
posed "The  Grand  Duchess  of 
Gerolstein,"  "ORPHEE  AUX  EN- 
FERS,"  "CONTES  D'HOFFMANN," 
in  all  102  stage  works,  most  of  which 
were  well  received,  while  those  already 
named  are  still  popular  favourites. 
Son  of  the  cantor  of  a  Jewish  congre- 
gation, Offenbach,  after  some  lessons 
from  his  father,  entered  the  Paris 
Conservatoire,  1833,  as  a  'cello  pupil 
of  Vaslin,  but  a  year  later  joined  the 
orchestra  of  the  Op6ra  Comique  as 
'cellist.  His  next  and  only  important 
appointment  was  as  conductor  at  the 
Theatre  Frangais,  where  he  composed 
"  Chanson  de  Fortunio "  for  A.  de 
Musset's  play  "Chandelier."  "Pepito," 
his  first  operetta,  was  produced  with- 
out success  at  the  Varigtis,  1853.  In 
1855  he  became  manager  of  a  small 
theatre,  and  in  the  same  year  acquired 
the  Theatre  Comte,  which  he  renamed 
"  Bouffes  Parisiens,"  and  there  his 
success  was  immediate  and  lasting.  In 
1862  his  ballet-pantomime,  "Le  Papil- 
lon,"  was  produced  at  the  Academic, 
and  the  following  year  he  retired  as  a 
manager,  although  he  later  controlled 
the  Theatre  de  la  Gaite,  1873-75,  de- 
.  voting  himself  to  composition.  In 
1877  he  published  "Notes  d'un  Mu- 
sicien  'en  voyage,"  in  which  he  de- 
scribed a  visit  to  America.  He  also 
made  occasional  visits  to  London  as  a 
'cello  virtuoso,  but  his  chief  interests 
were  always  in  Paris.  "  Contes  d'Hofif- 
mann,"  the  composer's  favourite  work, 
was   not   performed   until    after   his 


death.  Others  of  his  more  successful 
works  were  "Belle  Hel6ne,"  1865, 
"  Corsaire  Noir,"  1872 ;  "  La  Creole," 
1875;  "Daphnis  et  Chloe,"  1860; 
"Princesse  de  Trebizonde,"  1870; 
"Rgve  d'une  nuit  d'etfi,"  "Robinson 
Crusoe,"  "  Whittington  and  His  Cat," 
1874;  "Vie  Parisienne,"  1866;  "Mad- 
ame Favart,"  1878.  B.  June  21,  1819, 
Oflfenbach-am-Main;  d.  Oct.  5,  1880, 
Paris. 

Offertorium.  i.  "  OflFertory.''  Mo- 
tet or  organ  voluntary  performed  at 
High  Mass  while  the  celebrant  is  mak- 
ing ready  and  offering  the  Oblation. 
The  text  is  a  psalm  or  other  portion 
of  scripture.  ' 

Ofiicium.     h.    Ofiice  or  service. 

Oficleida.     It.    OPHICLEIDE. 

Oginski  (Prince  Ifficliael  Casimir) 
was  accredited  with  having  invented 
pedals  for  the  harp  and  suggesting 
"  The  Creations "  as  a  subject  to 
Haydn.  B.  1731,  Warsaw;  d.  1803. 
Prince  michael  Cleopas  composed  14 
polonaises,  songs;  Russian  statesman. 
B.  Sept.  25,  1765,  Gutzow,  near  War- 
saw; nephew  of  MICHAEL  CASIMIR; 
d.  Oct.  31,  1833,  Florence.  Prince 
Gabriel  played  violin.  B.  1788;  d. 
1843. 

Ohne.  Ger.  "Without,"  as  Worte, 
words. 

Oioueae.  Vowels  from  the  words 
"  World  without  end.  Amen." 

Oireachtas.  Annual  festivals  held 
in  Ireland  by  the  Gaelic  League  since 
1897,  at  which  there  are  competitions 
in  Irish  music  and  poetry. 

Okeghem  (Joannes)  was  the  great- 
est of  the  world's  music  teachers,  niun- 
bering  de  la  Rue  and  Josquin  among 
his  many  eminent  pupils;  founded  the 
second  or  new  school  of  Netherland 
composers;  composed  church  music 
and  chansons,  canons,  remarkable  for 
ingenuity  and  learning,  including  a 
motet  for  36  voices  and  the  "Missa 
cujusvis  toni "  and  "  Missa  Prola- 
tium,"  often  cited  in  later  theoretical 
works;  in  boyhood  chorister  at  Ant- 
werp Cathedral  and  pupil  of  Binchois 
or  Dufay;  chapelmaster  of  the  Kings 
of  France,  1452-96;  treasurer  of  St. 
Martin's  Church,  Tours,  by  appoint- 
ment of  Louis  XI;    made  occasional 


OLD    HUNDRED 


455 


OPEN   PIPE 


tours  of  Spain  and  the  Netherlands. 
B.  about  1434,  probably  Termonde, 
East  Flanders;  known  as  Ockenheim, 
Okekem;   d.  about  1496. 

Old  Hundred.  The  first  known  ver- 
sion of  this  tune  appeared  as  the 
melody  to  Psalm  cxxxiv  in  Beza's  edi- 
tion of  the  Genevan  Psalter,  1554. 

O'Leary  (Arthur)  taught  piano. 
Royal  Academy  of  Music,  London, 
1856-1903;  composed  and  edited  mu- 
sic; pupil  of  Leipsic  Conservatory. 
B.  Tralee,  Kerry,  Ireland,  Mar.  15, 
1834;  add.  London.  Bosetta  Viniug 
composed  songs ;  pupil  Royal  Academy 
of  Music,  King's  Scholar  in  1851.  B. 
Newton  Abbot;  m.  ARTHUR,  1860; 
add.  London. 

Olimpiade.  Metastasio's  opera  lib- 
retto, written  1733  in  celebration  of 
the  birthday  of  Empress  Elizabeth, 
has  been  composed  31  times  by  com- 
posers from  Caldara,  1733,  to  Conti, 
1829. 

Oliphant.    Obsolete  ivory  horn. 

Oliphant  (Thomas)  made  the  Eng- 
lish version  of  FIDELIO;  published 
"  La  Musa  Madrigalesca,"  1837,  con- 
taining 400  madrigals ;  honourary  sec- 
retary London  Madrigal  Society.  B. 
Dec.  25,  1799,  Condie;  d.  Mar.  9,  1873, 
London. 

Olsen  (Ole)  composed  a  symphony 
in  G  major,  the  symphonic  poems  "Elf- 
dance,"  "Aasgaardsreien,"  the  operas 
"  Stig  Hvide,"  "  Lajla,"  "  Stallo,"  the 
oratorio  "  Nideros,"  four  cantatas,  the 
fairy  opera  "  Svein  Urad " ;  wrote 
poems  and  books  for  his  operas;  be- 
came director  of  military  music  to  the 
Swedish  government,  1900 ;  wrote  crit- 
icism; choirmaster  and  teacher  in 
Christiania;  pupil  of  the  Leipsic  Con- 
servatory. B.  Hammerfest,  July  4, 
1850;   add.  Christiania. 

Olthoff  (Statius)  composed  four- 
part  settings  of  Buchanan's  Latin 
poetic  paraphrase  of  the  Psalter;  can- 
tor of  the  Rostock  Marienkirche,  1579. 
B.  Osnabruch,  1555;  d.  Feb.  28,  1629, 
Rostock. 

Olympie.  Gasparo  Spontini  s  three- 
act  lyric  tragedy,  to  book  by  Dieulafoy 
and  BrifFaut  after  Voltaire,  was  first 
performed  Dec.  22,  1819,  at  the  Pans 
Academic  Royale. 


O'Xara  (Joseph)  sang  ten.  in  Lon- 
don English  opera,  debut  1894,  in  such 
rSles  as  Don  Caesar,  Faust,  Don  Jose, 
Turiddu;  member  of  the  Moody-Man- 
ners Company;  pupil  of  Perini  and 
Moretti,  Milan.  B.  Limerick,  July  16, 
1866;    add.  London. 

Ombi.    Negro  HARP. 

Omnes,  Omnia.  L.  All,  chorus, 
tutti. 

Onagon.    Chippewa  DRUM. 

Once  Accented  Octave.  The  octave 
beginning  with  Middle  C  or  c'. 

Ondeggiante.    /*.    Undulating. 

Ondricek  (Pranz)  played  violin, 
debut  in  his  father's  orchestra  at 
seven,  later  touring  Europe  and  Amer- 
ica as  virtuoso.  Free  pupil  of  the 
Prague  Conservatory  for  three  years; 
a  wealthy  merchant  sent  him  to  Paris, 
where  he  studied  under  Massart  at  the 
Paris  Conservatoire  and  won  the  first 
prize.  His  first  engagements  were  as 
violinist  with  the  Pasdeloup  concerts 
in  Paris  and  the  London  Philharmonic 
Society.  B.  April  29,  1859,  Prague; 
add.  Prague. 

Ondulg.    Fr.    Undulating. 

Onduliren.  Qer.  To  produce  a 
tremolo. 

Ongarese.     It.    Hungarian. 

Onslow  (George)  composed  the 
comic  operas  "  Alcalde  de  la  Vega," 
1824;  "Le  Colporteur,"  1827;  "Le 
Due  de  Guise,"  1837;  34  quintets,  36 
quartets,  three  symphonies;  pupil  of 
Hullmandel,  Dussek,  Cramer,  and 
Reicha;  grandson  of  the  first  Lord 
Onslow  and,  through  his  mother, 
descended  from  the  Brantomes;  be- 
came member  of  the  Institut  in  suc- 
cession to  CherubinL  B.  July  27, 
1784,  Clermont-Ferrand;  d.  Oct.  3, 
1853. 

Onzieme.     Fr.    Eleventh. 

'Ood  or  Oud.  Egyptian  seven- 
stringed  mandolin. 

Op.    Abbreviation  of  OPUS. 

Open  Diapason.  Principal  or  chief 
foundation  stop  of  an  organ. 

Open  Harmony.  Chords  not  in 
close  position. 

Open  Notes.  Those  produced  with- 
out stopping  the  strings  or  by  means 
of  valves,  crooks,  or  keys. 

Open  Pipe.     One  open  at  the  top. 


OFEIT    SCOKES 


456 


OFEBA 


the  sound  being  an  octave  higher  than 
if  it  be  closed. 

Open  Scores  are  those  in  which 
each  part  has  a  separate  line  as  op- 
posed to  those  in  which  more  than  one 
part  is  written  to  the  line,  or  close  or 
short  score. 

Open  Strings.    Unstopped  strings. 

Opera  is  the  one  form  of  entertain- 
ment in  this  prosaic  age  by  which  man- 
kind may  yet  scale  Heaven  (with  Mar- 
guerite), wallow  in  the  mire  below 
(with  Herod  and  Salome),  descend 
into  the  waters  under  the  earth  (with 
Alberich),  or  iato  Hell  (with  Or- 
pheus) ;  may  gain  the  heights  of  Mon- 
salvat  (with  Parsifal),  explore  the  sad 
charms  of  Bohemia  (with  Mimi)  or 
the  commonplaces  of  the  workaday 
world  (with  Louise).  Nothing  can  be 
too  absurd  or  improbable,  too  heroic 
or  too  criminal  to  serve  the  purpose 
of  the  highly  conventionalized  com- 
bination of  music,  the  drama  and  all 
the  arts,  known  by  that  name.  It  is 
the  unreality  of  opera  that  charms. 
To  analyse  it  as  one  would  a  play,  a 
book,  a,  painting,  or  a  work  of  absolute 
music,  would  merely  destroy  the  pleas- 
ure it  affords.  It  must  be  accepted 
with  the  childish  spirit  of  those  who 
believe  in  Santa  Claus.  It  deals  with 
fairy  tales  and  ghost  stories  for  grown 
people.  It  is  wholly  unnatural,  forced, 
impossible,  but  has  grown  in  popular 
favour  for  300  years,  and  is  still  young, 
perennially  fresh  and  vigorous.  It  is 
customary  to  ascribe  a  Greek  origin 
to  opera.  In  the  remote  ages  when  a 
great  orator,  who  had  cured  himself 
of  stammering  by  learning  to  speak 
with  his  mouth  full  of  pebbles, 
strengthened  his  voice  by  declaiming 
so  loudly  that  the  roar  of  the  surf 
could  not  drown  his  words,  music  was 
already  an  art  and  a  science.  The 
orators  and  players  in  order  to  send 
their  words  to  the  remotest  parts  of 
the  theatre  adopted  a  kind  of  chant  or 
sing  song,  which  may  have  resembled 
that  of  the  older  school  of  our  own 
tragedians  in  uttering  blank  verse. 
There  was  an  orchestra  composed  of 
flutes,  under  which  name  both  oboes 
and  flutes  were  included,  of  lyres  and 
percussion  instruments.     The   chorus 


voiced  its  explanatory  comment  on 
the  text  as  to-day.  But  there  was  no 
harmony.  The  Greeks,  who  regarded 
music  as  a  branch  of  mathematics,  in- 
vented the  monochord  and  devised  a 
most  ingenious  system  of  modes,  loved 
melody,  and  with  melody  were  content. 
During  the  period  of  the  Italian  Ren- 
aissance, when  scholars  and  nobles 
tried  to  revive  the  beautiful  in  art  by 
the  study  of  that  people  whose  life  was 
beauty  itself,  Galilei,  father  of  the 
astronomer.  Peri,  Caccini,  Cavaliere, 
and  other  musicians,  who  were  wont 
to  gather  at  the  home  of  Count  di 
Vernio  in  Florence,  resolved  to  restore 
the  drama  of  the  Greeks.  The  Church 
Modes  were  modelled  upon  the  Greek 
theory  of  music,  in  so  far  as  the  early 
churchmen  were  able  to  grasp  it,  and 
these  worthies  sought  to  rediscover  the 
declamatory  style  of  the  Athenians. 
Peri's  "  Dafne,"  privately  performed 
at  the  Corsi  Palace,  was  among  the 
first  efforts  in  this  direction,  1597,  and 
three  years  later,  at  the  marriage  of 
Henri  IV  of  France  with  Maria  de 
Medici,  his  "  Euridice  "  was  performed 
in  public.  These  were  tragic  operas. 
As  early  as  1262  a  comic  opera  by 
Adam  de  la  Hale  had  been  performed 
at  Arras,  in  France,  and  in  1285  his 
"  Jeu  de  Robin  et  Marion  "  had  been 
received  with  delight  by  the  French 
court  at  Naples,  and  in  its  Mysteries 
or  Miracle  plays  the  church  had  fos- 
tered dramatic  performances  with  more 
or  less  musical  accompaniment.  But 
the  coterie  in  Florence  had  begun  their 
creative  work  at  the  psychological  mo- 
ment, and  their  "  Dramma  per  la  Mu- 
sica"  or  Opera  in  Musica  (work  in 
rnusic),  sung  in  a  new  style,  not  un- 
like what  Wagner  was  pleased  to  call 
"  aria  which  is  recitative  and  recita- 
tive which  is  aria,"  and  which  they 
termed  "  stilo  reppresentativo "  or 
"Musica  Parlante"  (speaking  music), 
became  the  fashion.  Then  came  the 
revolution,  headed  by  Monteverde, 
against  the  Polyphonic  School  of  Com- 
position, the  growth  of  the  science  of 
harmony,  and  the  development  of  the 
modern  orchestra;  and,  since  the 
Church  retained  its  preference  for  the 
older  music,  the  composers  of  the  new 


OFEBA 


457 


OFEBA 


school  found  in  opera  the  best  outlet 
for  their  genius.  Throughout  Italy, 
then  to  France,  to  Germany,  to  Eng- 
land, went  composers  and  singers,  tak- 
ing with  them  operas  which  every- 
where excited  the  interest  of  courtiers 
and  musicians,  and  everywhere  in- 
spired others  to  attempt  fame  and 
fortune  by  means  of  opera.  Eventu- 
ally _there_  grew  up  in  France  the  op6ra 
comique,  in  Grermany  the  singspiel,  in 
Italy  the  commedia  dell'  Arte,  in 
which  the  common  people  might  find 
their  thoughts  and  aspirations  re- 
flected; but  in  court  circles  Italian 
opera  continued  to  reign  supreme. 
Perhaps  the  most  formidable  revolt 
was  that  headed  by  Gluck,  a  thorough 
musician,  trained  in  the  arts  of  Italy, 
by  birth  a  German,  but  a  reformer  and, 
after  Lulli,  the  foremost  of  early  com- 
posers of  French  opera.  The  world  had 
become  somewhat  more  enlightened 
regarding  the  Greek  drama  in  his  day, 
and  the  orchestra  had  gained  in  power 
of  expression,  while  the  principles  of 
harmony  were  more  generally  imder- 
stood.  Gluck  aimed  to  purify  opera, 
to  prune  out  the  excrescences  which 
had  grown  up  about  Italian  opera. 
What  he  did  for  France  Weber  was 
later  to  do  for  Germany,  and  what 
Weber  left  undone  was  attempted  by 
Wagner,  who  dominated  German  music 
after  him,  giving  a  new  impetus  to 
operatic  composition,  and  again  en- 
deavouring to  return  more  closely  to 
the  old  Greek  model.  How  well 
Wagner  may  have  succeeded  is  for 
future  generations  to  say,  but  it  is 
worth  noting  that,  while  he  liked  to 
speak  of  the  music  of  the  future,  "  the 
new  music "  was  a  phrase  in  the 
mouths  of  the  Italians  generations  be- 
fore him.  This  much  may  be  said,  that 
he  revived  an  interest  grown  somnolent, 
and  that  the  music  of  the  new  Rus- 
sians and  the  Young  Italians,  however 
little  it  may  resemble  that  of  the  com- 
poser of  the  Ring  of  the  Nibelungen, 
is  none  the  worse  because  of  him  and 
his  theories.  When  Italian  opera  had 
grown  past  the  control  of  the  men  who 
believed,  rightly  or  wrongly,  they  were 
reviving  the  glory  of  ancient  tragedy, 
the  tendency  in  Italy  was  to  look  upon 


the  opera  libretto  merely  as  a  neces- 
sary peg  on  which  to  hang  such  glori- 
ous texture  of  music  as  might  cause 
the  book  itself  to  be  forgotten.  The 
later  German  ideal  assumed  that  mu- 
sic which  detracted  from  the  interest 
in  the  progress  of  the  drama  itself 
was  bad  music,  and  that  the  purpose 
of  music,  as  well  as  of  architecture,  of 
lighting,  of  costuming,  and  of  acting 
was  merely  to  enforce  the  dramatic 
interest  of  the  text.  And  it  is  well  to 
reflect  that  under  the  one  set  of  theories 
we  have  had  sparkling  comedies  which 
lose  nothing  of  their  power  of  excit- 
ing laughter  because  wedded  to  charm- 
ing melody,  and  that  from  the  other 
we  have  the  extraordinary  spectacle 
of  the  protagonist  of  a  music-drama 
standing  for  40  minutes  with  his  back 
to  the  audience  while  the  interest  is 
centred  in  subordinate  characters. 
There  is  so  much  that  is  beautiful  in 
the  operatic  music  of  every  people  and 
of  every  school,  so  much  that  is  silly 
in  the  controversies  of  those  who  pose 
as  partisans  of  any  school  that  the 
true  music  lover  may  pass  from  the 
operas  of  Donizetti  to  those  of  Wagner 
and  from  the  operas  of  Mozart  to  those 
of  Verdi  with  pleasure  in  all.  But  be 
should  first  murmur  with  all  due  rev- 
erence "  help  thou  mine  unbelief  "  and 
leave  the  everyday  world  behind  him 
in  the  cloak-room,  for  opera  is  the  con- 
vention of  unreality.  In  this  book  will 
be  found  the  stories  of  the  most  of 
the  operas  now  sung  in  the  chief  opera 
houses  of  the  world,  with  the  names 
of  hundreds  more,  long  since  forgotten, 
in  biographies  of  the  conjposers.  A 
new  work  by  John  Towers,  however, 
has  the  significant  title  "  Dictionary  of 
27,015  Operas  and  Operettas."  From 
it  are  taken  the  names  of  the  most 
popular  of  operatic  subjects,  the  fig- 
ures showing  the  number  of  times  each 
has  been  scored  for  the  operatic  stage : 
Achille  in  Sciro,  29 ;  Adriano  in  Siria, 
46 ;  Alessandro  nelle  Indie,  55 ;  Andro- 
meda, 18;  Antigona,  15;  Antigono,  28; 
Arc,  Jeanne  d',  17;  Armida  abbando- 
nata,  26;  Arminio,  17;  Artaserse,  63; 
Berenice,  20 ;  Catone  in  Utica,  22 ;  Cid, 
16;  Circe,  19;  Cleopatra,  27;  Colombo, 
Cristoforo,  21;   Coriolano,  18;   Dafne, 


opiSra  bouffe 


458 


OBATOBIO 


20;  Demetrio,  41;  Demofoonte,  48; 
Didone  abbandonata,  48 ;  Don  Quixote, 
52;  Endymion,  20;  Esmeralda,  17; 
Eumene,  16;  Ezio,  42;  Farnace,  20; 
Faust,  45;  Hamlet,  20;  Iflgenia  in 
Aulide,  26;  Ifigenia  in  Tauride,  12; 
Ipermestra,  25;  Isola  disabitata,  16; 
Jery  und  Baetly,  15;  Lorelei,  16; 
Merope,  44;  Mitridate,  20;  Nitteti, 
29;  Olimpiade,  52;  JPenelope,  14; 
Pygmalion,  24;  Romeo  and  Juliet,  18; 
Ruebezahl,  13;  Semiramide,  47;  Se- 
sostri,  16;  Sofoniaba,  16;  Temistocle, 
24;  Tigrane,  15;  Ulisse,  25;  Zenobia, 
31.     See  SUBSIDIZED  THJSATRES. 

Opera  BoufCe.    Fr.    Comic  opera. 

Opera  Buffa.    It.    Comic  opera. 

Opera  Comique.  Fr.  Opera  in 
which  the  dialogue  is  spoken,  not  sung, 
whether  the  subject  be  tragic  or  comic. 

Op€ra  Comique  is  the  name  of  the 
fine  Paris  theatre  erected  1898  for  the 
performance  of  op€ra  comique.  The 
title,  as  applied  to  a  theatre,  dates 
from  1715,  when  the  establishment  of 
a  house  devoted  to  this  form  of  opera 
was  agreed  to  by  the  direction  of  the 
Acad€mie  de  Musique  Royale.  Too 
much  prosperity  aroused  the  ill-will 
of  other  managers,  and  the  house  was 
closed  in  1745  to  be  reopened  in  1752. 
Ten  years  later  the  company  was 
merged  with  that  of  the  Comedie  Ital- 
ien.  A  rival  Op6ra  Comique  was 
founded  in  1791,  with  ruinous  results 
to  both,  and  another  merger  was 
effected,  1801,  and  from  that  until 
1829  the  Theatre  Feydeau  was  the 
home  of  opera  comique.  In  1887  the 
Opera  Comique  was  destroyed  by  fire, 
and,  until  the  erection  of  the  new  house, 
performances  were  given  in  what  later 
became  the  Theatre  Sarah  Bernhardt. 
See  SUBSIDIZED  THEATRES. 

Opera  Grand.  Opera  in  which  the 
dialogue  is  in  recitative;  opera  seria 
or  serieux. 

Opera,  Grand.  The  splendid  home 
of  serious  opera  in  France,  and  one 
of  the  models  of  the  SUBSIDIZED 
THEATRE,  of  which  PARIS  is  the 
centre,  passed  under  the  management 
of  MESSAGER  and  Broussan  in  1908, 
who  were  backed  by  a  subscription 
fund  of  1,400,000  francs,  and  signal- 
ized their  first  season  by  a  performance 


of  the  "  RING  DES  NIBELUNGEN," 
and  a  number  of  Russian  works,  the 
latter  being  given  by  a  company  under 
the  patronage  of  Grand  Duke  Vladimir. 
James  Stillman,  Otto  Kahn,  and  Mor- 
timer Schiff,  well  known  patrons  of 
the  Metropolitan  Opera  in  New  York, 
subscribed  $5000  each  to  the  support 
of  the  new  management.  The  early 
history  of  the  Paris  OpSra,  as  it  is 
called  in  this  work,  may  be  traced 
under  ACADEMIE  DE  MUSIQUE. 
The  seating  capacity  of  the  house  was 
2200,  and  in  1908  the  conductors  were 
Paul  Vidal,  Rabaud,  Busser,  and 
Bachelet. 

Opera  Lyrique.  Lyric  or  ballad 
opera. 

Operetta.,  Short  opera  of  light 
quality. 

Operist.     Qer.    Opera  singer. 

Ophicleide.  "Keyed  serpent." 
Brass  instrument  which  is  being  re- 
placed by  the  TUBA,  supposed  to  have 
been  invented  by  Prichot,  1790,  with 
keywork  similar  to  that  of  the  Kent 
BUGLE,  of  which  it  formed  the  bass. 
Earlier  instruments  were  sometimes 
partly  or  wholly  of  wood  like  the 
Zinken  or  SERPENT,  but  afterwards 
were  wholly  of  brass.  There  were  three 
sizes:  a  bass  set  in  C,  B  flat,  and  A 
flat,  compass  A  flat  to  a';  an  alto  in 
F  and  E  flat,  with  a  compass  of  two 
and  a  half  octaves;  and  a  contrabass, 
like  the  alto,  but  an  octave  lower. 

Opus.  L.  "  Work."  The  Op.  num- 
ber shows  either  the  order  in  which  a 
composition  was  begun  or  that  of 
publication. 

Oratorio  had  its  beginning  in  the 
Mysteries  or  Miracle  plays  produced 
in  every  country  of  Europe  under  the 
auspices  of  the  Roman  Catholic  clergy 
during  the  Middle  Ages.  The  name 
came  into  use  by  reason  of  the  efforts 
of  St.  Philip  of  Neri  to  attract  young 
people  to  ^vine  services  held  in  his 
"  Oratory  "  by  performances  of  sacred 
music,  composed  expressly  for  his  use 
by  the  best  musicians  of  his  generation. 
These  compositions,  known  at  first 
as  "LAUDI  SPIRITUALS"  were  in 
madrigal  style,  and  became  highly  pop- 
ular throughout  Italy.  Giovanni  Ani- 
muecia,  chapelmaster  to  the  Oratory, 


OBATOKIO 


459 


OBCHESTBA 


published  a  collection  of  them,  Rome, 
1563.    While  the  Florentine  musicians 
were  inventing  the  OPERA,  Emilio  del 
Cavaliere,  who  had  himself  produced 
two  pastoral  dramas  in  Florence,  was 
composing  a  work  called  "  La  Rappre- 
sentazione  di  Anima,  e  di  Corpo,"  with 
soli,  chorus,  and  recitatives  to  orches- 
tral  accompaniment,   which   was,    in 
fact,  "  Dramma  sacra  per  Muaiea,"  or 
sacred  opera,  given  with  costumes  and 
with  dancing  in  that  same  oratory  at 
Rome  over  which  St.  Philip  of  Neri 
had   long   presided.     Thereafter   ora- 
torio   possessed    dramatic    form,    al- 
though it  has  long  ceased  to  be  given 
with  action,  costume,  or  scenery.  From 
Italy,  where  it  was  soon  overshadowed 
by  opera,  the  oratorio  spread  to  the 
other  parts  of  Europe.     The  church 
cantatas  of  Bach  and  his  Passions,  ac- 
cording to  St.  Mark  and  St.  John,  may 
be  regarded  as  its  highest  expression  in 
North  Germany.    In  England  the  ora- 
torio was  Handel's  recourse  when  opera 
was  no  longer  profitable.    Its  extraor- 
dinary popularity  may  be  accounted 
for  not  only  by  the  religious  tempera- 
ment of  the  race,  but  by  the  fact  that 
here,  at  least,  was  one  art  form  in  the 
vernacular  which  must  have  been  a 
blessed  relief  after  the  Italian  war- 
blings   at  the  rival  opera  houses  of 
Handel  and  Bononcini.     The  eflfect  of 
that  long  series  of  oratorios,  of  which 
"The  MESSIAH"  was  the  culmination, 
was  to  impose  a  cult  upon  the  English 
people  which  they  have  not  yet  shaken 
off,    and    which    finds    expression    in 
America  as  well.    The  next  great  ora- 
torios were  "The   CREATION"  and 
"The   SEASONS"  by  Haydn,  which 
were  and  are  more  popular  in  England 
than  in  Germany,  a  statement  equally 
true    of    the    "ELIJAH"    and    "ST. 
PAUL"   of  Mendelssohn   and  of  the 
"St.  Elizabeth"  of  Liszt.     The  edu- 
cational effect  of  the  oratorio  has  been 
of  the  highest  value.    Requiring  large 
and    carefully    trained    choruses    for 
their   performance,    the   English   and 
American  musical  festivals  which  have 
done  so  much  to  disseminate  the  best 
music  in  every  form  were  organized, 
in   almost   every  instance,  primarily 
for  oratorio  singing. 


Orazi  ed  i  Curiazi.  Domenico  Cim- 
arosa's  three-act  opera,  to  book  by 
Sografl,  was  first  performed,  1794,  at 
Venice. 

Orchesis.    Or.    The  art  of  dancing. 

Oroh.esograph.ie.  "  Description  of 
dancing."  A  work  of  that  title  by 
"  Thoinot  Arbeau  "  or  Jehan  Tabouret 
was  published  at  Langres,  1588.  It 
contains  the  notation  of  many  then 
popular  dance  tunes. 

Orchestik.     Ger.    ORCHESIS. 

Orchestra.  The  modern  grand  or- 
chestra, of  which  the  Boston  Sym- 
phony Orchestra  is  an  excellent  type, 
is  the  result  of  a  long  period  of  evo- 
lution or  of  accretion.  The  num- 
ber of  musicians  required  has  been 
gradually  increased,  the  quality,  pro- 
portion, and  form  of  the  instruments 
has  varied.  Before  considering  the 
orchestra  of  the  early  classic  period 
and  without  speculation  as  to  the  or- 
chestra of  the  future,  it  may  be  worth 
while  to  note  the  personnel  of  such  an 
organization  as  that  already  named 
in  1908.  Besides  the  concertmeister 
there  were  15  1st  violins,  16  2d  violins, 
10  violas,  10  'cellos,  8  doublebasses,  4 
flutes,  3  oboes,  3  clarinets,  3  bassoons, 

1  cor  anglais,  1  bass  clarinet,  1  contra- 
bassoon,  8  horns,  4  trumpets,  3  trom- 
bones, 1  tuba,  1  harp,  4  tympani,  and 

2  percussion.  Mozart  was  content  to 
score  his  Symphony  with  Fugue,  551, 
KSchel,  popularly  known  as  the  "  Jupi- 
ter Symphony,"  for  2  violins,  viola, 
bass,  flute,  2  oboes,  2  bassoons,  2  horns, 
2  trumpets,  and  kettle-drums.  Bach's 
D  major  Suite  for  orchestra  was  scored 
for  3  trumpets,  2  oboes,  kettle-drums, 
and  a  complement  of  strings  which 
about  equalled  those  employed  by 
Mozart.  Beethoven  was  satisfied 
to  add  two  clarinets  to  the  forces 
Mozart  had  employed.  At  the  per- 
formances of  Cavaliere's  ORATORIO 
the  orchestra  consisted  of  harpsichord, 
double  lyre,  bass  lute,  and  two 'flutes. 
Peri's  OPERA  "'Euridice"  required 
but  a  harpsichord,  bass  guitar,  bass 
lute,  and  a  lyre  or  viola  da  gamba. 
Monteverde  is  said  to  have  employed 
an  orchestra  of  36  pieces  for  the  pro- 
duction of  his  "  Orfeo,"  1608,  but  much 
of  his  score  was  in  figured  bass,  and 


OBCHESTBATIOIT 


460 


ORGAN 


it  cannot  be  known  with  certainty 
how  many  parts  were  actually  heard 
in  performance.  Later,  as  at  the 
HANDEL  COMMEMORATION  larger 
orchestras  were  assembled,  but  until 
Berlioz  began  to  write  for  several 
bands  and  choruses  in  a  single  work, 
and  Wagner  required  additional 
brasses  for  the  expression  of  his  ideas, 
permanent  orchestras  of  large  propor- 
tions were  unknown  and  unneeded. 
There  is  a  curious  resemblance,  it  will 
be  noted,  between  the  small  tone  of 
the  classic  orchestra  and  that  of  the 
favourite  solo  instrument  of  the 
period,  the  clavier.  Modern  audito- 
riums have  grown  larger,  modern  com- 
posers noisier,  modern  audiences,  no 
longer  of  the  court  but  of  the  people, 
sitting  in  concert  rooms  ten  times  the 
size  of  those  for  which  the  best  music 
of  the  classic  period  was  written, 
would  lose  the  nuances  of  the  works 
if  performed  by  the  instruments  for 
which  they  were  scored.  The  word  or- 
chestra is  derived  from  the  Greek, 
meaning  "  dancing  place.''  It  was  a 
space  in  front  of  the  stage  in  which 
a  raised  platform  was  built  for  the 
accommodation  of  the  chorus.  The 
early  composers  of  opera  applied  the 
name  to  the  place  allotted  their  mu- 
sicians, and  it  is  now  employed  to 
designate  the  place,  the  musicians,  or 
the  instruments. 

Orchestration.  The  art  of  IN- 
STRUMENTATION. 

Orchestrina  di  Camera.  Small  in- 
struments of  the  HARMONIUM 
family. 

Ordinario.  /*.    Ordinary. 

Ordres.     SUITES. 

Orecchia  Musicale.  It.  Musical 
ear. 

Oreille  Musicale.  Fr.  Ear  for 
music. 

Orfeo.     ORPHEUS. 

Organ.  The  only  solo  instrument 
capable  of  simulating  the  effect  of  a 
grand  orchestra,  and  therefore  the 
most  complex  and  difficult  as  well  as 
the  most  cumbersome  and  costly  of  all 
musical  instruments,  is  one  of  the  most 
ancient,  h^s  been  constantly  enlarged 
and  improved  by  each  succeeding  gen- 
eration, and  will  doubtless  occupy  the 


energies  of  musical  mechanicians  and 
inventors  for  centuries  to  come.  Some 
of  the  world's  largest  organs  have  been 
built  in  America,  notably  those  of  the 
Cincinnati  Music  Hall,  the  Salt  Lake 
City  Temple,  the  Chicago  Auditorium, 
and  a  gigantic  oi-gan  erected  in  Boston, 
but  which  no  longer  exists.  ■  The  larg- 
est organ  in  the  world  in  1908  was 
that  in  Festival  Hall,  St.  Louis,  which 
was  30  ft.  deep,  70  ft.  wide,  and  50  ft. 
high,  possessed  5  manuals,  pedal  cla- 
vier, 10,059  pipes  distributed  among 
140  speaking  stops,  99  mechanical  ap- 
pliances, and  cost  $100,000.  The  prin- 
ciple of  the  organ  may  be  studied  in 
the  Syrinx  or  Mouth  Organ,  the  in- 
vention of  which  was  attributed  to 
Pan,  and  which  may  well  have  been 
the  organ  of  Jubal,  "  Father  of  all 
such  as  handle  the  harp  and  organ." 
Each  pipe  of  the  organ,  like  those  of 
the  Syrinx,  produces  a  single  tone. 
The  largest  organs  of  to-day  are 
merely  a  grouping  of  such  pipes, 
varied  in  size,  form,  and  material,  and 
therefore  in  pitch  and  timbre,  blown 
by  an  artificial  wind  supply  instead  of 
that  furnished  by  the  lungs,  and  which 
may  be  used  in  almost  endless  com- 
binations. The  pipes  of  an  organ  are 
either  of  wood  or  metal,  in  the  latter 
case  composed  of  an  alloy  of  lead  and 
tin  and  sometimes  zinc.  They  may 
again  be  classified  as  either  REEDS 
or  FLUTES,  in  the  one  ease  the  pitch 
depending  upon  the  number  of  vibra- 
tions of  the  Reed,  in  the  other  upon 
the  vibrating  length  of  the  column  of 
air  in  the  pipe  itself.  A  group  of 
PIPES  of  homogeneous  quality  and 
affording  a  partial  or  complete  scale 
are  grouped  together  in  a  Register  or 
Stop,  a  series  of  such  groups  are  con- 
nected with  the  manual,  clavier  or 
keyboard,  and  may  be  sounded  singly 
or  together.  The  larger  modern  organ 
may  have  five  manuals  or  claviers, 
which  would  be  called  respectively. 
Great,  Choir,  Swell,  Solo,  and  Echo 
manuals,  each  complete  in  itself;  and 
a  Pedal  Clavier,  worked  with  the  feet 
and  possessing  its  ovni  stops.  Any 
two  or  all  of  the  manuals  and  the 
pedal  clavier  may  be  combined  at  will 
by   means   of   COUPLERS,   and  this 


OBGAN 


461 


OBOANOFHONIC 


gigantic  combination  of  tones  would 
be  the  Full  Organ.  In  such  an  organ 
the  great  pipes  of  32  ft.  pitch,  oper- 
ated from  the  pedal  clavier,  and  most 
of  the  16  ft.  stops,  operated  also  by 
pedal,  and  some  of  the  larger  pipes 
attached  to  Great  Organ  manual  would 
be  arrayed  in  front,  to  please  the  eye, 
while  the  smaller  stops  would  be 
hidden  behind  them.  In  considering 
the  mechanism  of  the  organ,  the  key- 
board and  the  stops  are  referred  to  as 
the  ACTION.  The  wind  supply  in 
modern  organs  is  provided  by  a  bel- 
lows operated  by  hand  or  foot  power, 
in  the  case  of  the  smaller  instruments, 
as  was  the  rule  in  earlier  ages.  For 
the  larger  instruments  the  wind  is 
furnished  by  pneumatic  pump,  oper- 
ated by  hydraulic  pressure,  an  electric 
motor,  or  an  engine.  In  any  case  it 
is  of  the  highest  importance  that  an 
even  pressure  of  wind  be  provided,  and 
there  is  usually  a  storage  bellows  to 
ensure  this.  Thence  the  wind  passes 
by  a  conduit  or  wind  trunk  into  a 
wind  chest,  or  wooden  box.  By  pull- 
ing out  a  draw  knob  the  wind  is  ad- 
mitted to  pass  to  the  pipes  of  a  par- 
ticular stop,  and,  by  depressing  a 
digital  on  the  keyboard,  passes  into 
a  pipe,  causing  it  to  sound  or  "  speak." 
Who  was  first  to  apply  the  artificial 
wind  forces  of  the  bagpipe  to  the 
PIPES  OF  PAN  history  does  not  say. 
In  Kircher's  "Musurgia"  are  illus- 
trations of  pipes  set  in  wind  chests, 
which  he  ascribes  to  the  Chaldeans 
and  Hebrews.  Ctesebius,  an  Egyptian, 
is  said  to  have  invented  the  HYDRA- 
LUS,  or  water  organ,  250  b.  c,  and 
Nero  was  a  performer  on  it,  even 
though  the  fiddle  was  of  later  inven- 
tion. Pneumatic  organs  of  simple 
form  are  said  to  have  been  used  by 
the  monks  of  the  4th  and  5th  centuries. 
In  the  8th  century  an  organ  presented 
to  Pepin  by  the  Byzantine  Emperor 
was  placed  in  the  Church  of  St.  Cor- 
nelius, Compifigne,  France,  and  Charle- 
magne placed  an  organ  presented  to 
him  by  Haroun  Alrasehid  in  the 
Church  of  Aix-la-Chapelle,  about  826. 
St.  Dunstan  built  an  organ  with  brass 
pipes  for  Malmesbury  Abbey,  Eng.,  in 
the  10th  century,  and  in  the  12th  cen- 


tury the  pipes  were  classified  into 
stops.  For  a  time  the  action  was  so 
hard  that  the  keys  could  only  be  de- 
pressed with  the  fist  or  elbows.  In 
the  14th  century  the  pedals  were  in- 
vented, and  in  the  15th  century  reed 
pipes  were  first  employed.  For  many 
succeeding  generations,  however,  the 
instrument  was  slow  in  speaking, 
clumsy  in  performance,  and  the  first 
instrument  of  really  noble  proportions 
was  that  of  St.  Mary's  Church,  Lfl- 
beck.  During  the  term  of  the  famous 
BUXTEHUDE  as  organist  this  in- 
strument had  three  manuals,  pedal, 
and  in  all  57  stops.  For  many  years 
the  Great  and  Choir  organ  were  ab- 
solutely distinct,  and  located  in  differ- 
ent parts  of  the  churches,  the  latter 
being  exclusively  used  as  accompani- 
ment to  the  voice.  With  the  invention 
of  the  Swell  and  Echo  this  distribu- 
tion of  force  was  no  longer  necessary. 
Its  effect  has  been  retained,  however, 
in  such  modern  instruments  as  that  of 
the  Chicago  Auditorium,  where  certain 
ranks  of  pipes  are  ingeniously  ar- 
ranged in  the  ceiling,  although  oper- 
ated from  a  single  console. 

Organetto.    /*.    Little  organ. 

Organic  Music.  Obsolete  name  for 
instrumental  music. 

Organists,  Koyal  College  of,  was 
founded  1864  as  a  central  organiza- 
tion of  London  organists,  to  provide  a 
system  of  examination  and  certifi- 
cates, for  the  discussion  of  profes- 
sional topics,  and  to  encourage  the 
study  and  composition  of  sacred  mu- 
sic. There  are  three  classes,  more 
than  600  fellows,  and  more  than  1500 
associates  and  members.  The  College 
was  incorporated,  1893,  by  Royal 
Charter.  Examinations  are  held  semi- 
annually. 

Organo.    It.    ORGAN. 

Organochordium.  Instrument  in- 
vented by  Vogler,  having  strings  as 
well  as  pipes. 

Organo  di  Iiegno.  It.  XYLO- 
PHONE. 

Organophone.  Variety  of  HAR- 
MONIUM invented  in  Paris  by  Debain. 

Organophonic.  Name  assumed  by 
musicians  who  vocally  imitated  organ 
music. 


OBGAN   FLEKO 


463 


OBFH^E 


Organ  Pleno.    /*.    Full  ORGAN. 

Organo  Portabile.  It.  Portable 
ORGAN. 

Organ  Point.     PEDAL  POINT. 

Organum.  Measured  Music  as  op- 
posed to  unmeasured  Plain  Song; 
early  form  of  polyphony;  Diaphony 
or  Descant;   the  organ. 

Organum  Hydraulicum.  L.  Hy- 
draulic ORGAN. 

Organum  Fneumaticum.  L.  Pneu- 
matic ORGAN. 

Orgel.     Gen    ORGAN. 

Orgelhause.    Oer.    Organ  case. 

Orgelpunkt.  Qer.  ORGAN  POINT 
or  PEDAL  POINT. 

Orgeni(Anna  Maria  Aglaja)sang 
sop.  in  opera,  debut  Berlin  Royal 
Opera  as  Amina,  1865,  later  with  suc- 
cess in  London,  and  in  concert  tours; 
taught  singing,  Dresden  Conservatory; 
pupil  of  Mme.  Viardot-Garcia.  B. 
Rima  Szombat,  Hungary,  Dee.  17, 
1841;  real  name  Gorger  St.  Jorgen; 
add.  Dresden. 

Orgue.     Fr.    ORGAN. 

Orgue  Ezpressif.  Fr.  HAR- 
MONIUM. 

Orgue  Fortatif.  Fr.  Portable 
organ. 

Oriflcium.  L.  Mouth  of  organ 
PIPE. 

Original  Position.  Chords  with 
ground  note  in  the  bass  or  before  in- 
version are  said  to  be  in  Original 
Position. 

Ornamento.  It.  Ornament,  grace 
note,  embellishment. 

Ornatamente.    It.    Embellished. 

Omato.    It.    Ornate;    embellished. 

Ornithoparcus  (Andreas)  wrote 
"Musicse  Activse  MICROLOGUS," 
Leipsic,  1516,  at  which  time  he  was 
attached  to  the  University  of  Witten- 
berg. Real  name  Vogelgang;  native 
of  Tubingen. 

Orologio  (Alessandro).  Two  musi- 
cians of  the  name  composed  books  of 
madrigals  and  canzonets.  One  became 
violinist,  1580,  and  vice  chapelmaster, 
1603,  to  the  Emperor  Rudolph  at 
Prague;  the  other  played  zinken, 
1590,  and  became  vice  chapelmaster, 
1603,  to  the  Electoral  court  at  Dresden. 

Opharion.  Obsolete  wire  stringed 
instrument  of  the  zither  family,  with 


six  or  seven  pairs  of  strings  tuned  like 
those  of  the  LUTE. 

OrphSe  aux  Enfers.  Jacques  Of- 
fenbach's three-act  opera  boufiFe,  to 
book  by  Hector  Cremiux,  was  first  per- 
formed Oct.  21,  1856,  at  the  BouflFes- 
Parisiennes.  Eurydice  is  gathering 
flowers  in  the  meadows  of  Thebes  with 
which  to  decorate  the  hut  of  Aristeus, 
a  shepherd  with  whom  she  has  become 
infatuated,  but  who  is  really  Pluto. 
Orpheus,  believing  her  to  be  a  shep- 
herdess, comes  in  to  serenade  her,  play- 
ing a  fiddle  instead  of  the  lyre.  En- 
raged at  each  other's  infidelity  they 
quarrel,  and,  having  cast  off  the  old 
love,  par*-,  in  search  of  the  new.  Aris- 
teus meets  Eurydice  in  the  field,  re- 
veals himself  as  the  god,  summons  a 
tempest,  and,  in  the  midst  of  the 
storm,  carries  Eurydice  off  to  Hell,  hut 
not  before  she  has  written  a  note  to 
Orpheus,  giving  her  new  address.  Or- 
pheus is  delighted  at  having  gotten 
rid  of  her,  but  Public  Opinion  com- 
mands him  to  ascend  Olympus  and  ask 
Jupiter  to  restore  his  wife  to  earth 
again.  Accordingly,  the  second  act 
opens  in  Olyrnpus.  The  gods  and  god- 
desses are  enjoying  a  nap,  from  which 
they  are  roused  by  a  blast  from 
Diana's  hunting  horn.  The  new 
celestial  scandals  are  then  discussed, 
including  the  most  recent,  Pluto's  ab- 
duction of  Eurydice.  When  that  god 
appears  he  is  bitterly  reproached  by 
Jupiter,  and  retaliates  by  describing 
some  of  Jupiter's  earthly  love  affairs, 
thus  arousing  the  jealousy  of  Juno. 
Aided  by  Cupid,  Juno  is  making  a 
scene,  when  Public  Opinion  and  Or- 
pheus enter.  Jupiter  gladly  agrees  to 
personally  assist  Orpheus  in  recover- 
ing his  wife,  and  descends  into  Hell  in 
the  third  act,  where  he  finds  Eury- 
dice guarded  by  John  Styx.  Having 
disguised  himself  as  a  fly,  Eurydice 
catches  him,  whereupon  he  reveals 
himself,  and  transforms  Eurydice  into 
a  bacchante.  A  convivial  scene  fol- 
lows, which  terminates  abruptly  upon 
the  arrival  of  Pluto.  Then  the  other 
gods  appear,  and  finally  Qrpheus  sails 
up  the  Styx,  playing  his  fiddle,  and 
demands  his  wife  of  Jupiter.  On  con- 
dition that  he  shall  return  to  his  boat, 


ORFH^E 


463 


OBPHEtJS 


Eurydice  following,  and  neither  look- 
ing back,  Jupiter  agrees  to  this  de- 
mand, but  just  as  Orpheus  reaches  the 
boat  Jupiter  launches  a  thunderbolt, 
Orpheus  turns  about,  and  thus  again 
loses  his  wife,  greatly  to  his  own  de- 
light and  to  the  disgust  of  Public 
Opinion.  Orpheus  thereupon  sails  back 
to  his  shepherdess. 

Orphee  et  Euridice.  Serious  op- 
eras by  Grluck  and  others  bearing  this 
title  are  referred  to  under  ORPHEUS. 

Orpheon  is  the  general  title  of  the 
singing  societies  which  have  grown  up 
in  France  since  the  introduction  of 
singing  in  the  public  schools  and  col- 
leges, 1835.  From  1852  to  1860  Gou- 
nod was  director  of  a  choral  union 
formed  of  various  Orphenistes  of  Paris, 
but  so  greatly  did  the  societies  mul- 
tiply that,  on  his  retirement,  it  was 
found  necessary  to  divide  the  city  into 
two  sections.  After  the  Franco-Prus- 
sian war  these  were  again  united  under 
Bazin,  who  continued  as  director  until 
his  death,  when  he  was  succeeded  by 
his  pupil  Danhauser.  The  best  French 
composers  lent  their  talents  to  the 
movement,  which  spread  into  Belgium, 
where  the  male  part  song  has  become 
equally  popular.  In  France  alone 
there  were  3243  societies  with  a  total 
membership  of  147,500  in  1867.  As 
many  as  3000  singers  are  sometimes 
assembled  in  the  Orpheon  festivals, 
and  international  competitions  are 
held  by  the  French  and  Belgian 
singers. 

Orpheoreon.     ORPHAKION. 

Orpheus  has  been  the  subject  of  in- 
numerable operas,  from  that  of  Cac- 
cini  and  Peri,  to  book  by  Rinuccini, 
performed  as  "Euridice,"  1600,  and 
generally  regarded  as  the  first  serious 
opera,  and  the  "Orfeo"  of  Monte- 
verde,  performed  seven  years  later,  to 
those  of  Sartorio,  Draghi,  the  young 
Lullis,  Keiser,  Fux,  Graun,  to  that  of 
Christoph  Willibald  Gluck,  the  great- 
est of  them  all.  This  work,  to  book  by 
Calzabigi,  was  first  performed  Oct,  5, 
1762,  in  Vienna,  as  "Orfeo  ed  Euri- 
dice," and  Aug.  2,  1774,  as  "  Orphge," 
at  the  Paris  Academic  de  Musique. 
For  the  latter  production  the  rCle  of 
Orpheus  was  transposed  from  contralto 


to  tenor,  but  since  Berlioz'  revision, 
has  again  been  assigned  to  contralto. 
The  story  differs  from  the  Greek  leg- 
end in  having  a  happy  ending,  but 
both  book  and  music  were  an  attempt 
at  strict  conformation  to  Greek  ideals. 
The  rising  curtain  discloses  the  tomb 
of  Euridice,  about  which  nymphs  and 
shepherds  are  mourning.  With  an 
outburst  of  grief  Orpheus  commands 
them  to  leave  him.  As  he  muses  on 
his  sorrows,  the  god  of  Love  comes  to 
tell  him  that  his  laments  have  moved 
Olympus  to  compassion,  and  that  Ju- 
piter has  ordained  that  Orpheus  may 
descend  into  Hades  and  bring  back 
his  wife  to  the  world,  provided  he  can 
refrain  from  looking  at  her  until  their 
return  to  earth.  In  the  second  act 
Orpheus  is  at  the  gates  of  Hell,  where 
demons  and  furies  oppose  his  entrance 
until  he  sets  them  dancing  with  the 
notes  of  his  lyre,  then  calms  them 
and  moves  them  to  pity  with  the  story 
of  his  love  and  loss.  A  change  of  scene 
reveals  the  hero  in  Elysium  with  the 
blessed  shades.  He  calls  for  Euri- 
dice, and  the  shades  bring  her  to  him 
with  joyful  songs.  She  is  heavily 
veiled.  The  last  act  reveals  a  cavern 
through  which  the  lovers  are  about 
to  emerge  upon  the  earth.  Euridice, 
amazed  that  Orpheus  has  not  caressed 
nor  even  looked  at  her,  reproaches  him 
for  loving  her  no  longer.  At  length, 
overcome  with  love  and  sorrow,  Or- 
pheus turns  and  looks  at  her.  He  has 
violated  his  pledge  to  the  gods,  and 
she  falls  dead.  He  cries  out  in  despair, 
and  is  on  the  point  of  killing  himself, 
that  he  may  rejoin  Euridice  among 
the  shades,  when  Love  again  appears 
and  restores  Euridice  to  life.  A  joy- 
ous chorus  breaks  forth  as  the  lovers 
embrace,  and  the  opera  concludes  with 
a  ballet.  The  principal  characters  are  : 
Orpheus,  con. ;  The  Happy  Shade,  sop. ; 
Love,  sop.;  Eurydice,  sop.  The  prin- 
cipal musical  numbers  are:  Act  I: 
"Chiamo  il  mio  ben  oosi,"  Orpheus; 
"Euridice!  ombra  cara,"  Orpheus; 
"  Gli  sguardi  trattieni,"  Love;  Act  II: 
"Chi  mai  dell'  Erebo,"  chorus  of  de- 
mons and  furies;  "Mille  pene,"  Or- 
pheus; "Che  puro  ciel,"  Orpheus; 
"Vienni    ai    regni    del    reposo,"   The 


OKFHEtrS 


464 


OTGEB 


Happy  Shade ;  Act  III :  "  Che  flero 
momento,"  Euridice ;  "  Che  faro  senza 
Euridiee,"  Orpheus ;  "  Trionfi  amore," 
chorus. 

Orpheus.  The  name  of  the  legend- 
ary Greek  musician  has  been  adopted 
in  modern  times  by  numerous  singing 
societies,  of  which  that  in  CINCIN- 
NATI is  a  type,  and  likewise  for  sev- 
eral collections  of  vocal  music,  includ- 
ing the  first  of  the  works  of  Henry 
Purcell. 

Ortigue,  d'  (Joseph  Louis)  wrote 
a  "  Dictionnaire  "  of  music  and  other 
books,  criticism  for  the  "  Journal  des 
Debats "  and  other  newspapers  and 
periodicals;  aided  Niedermeyer  in 
founding  the  periodical  "  La  Mal- 
trise  " ;  pupil  of  the  Castil  Blazes.  B. 
May  22,  1802,  Cavaillon;  d.  Nov.  20, 
1866,  Paris. 

Ortiz  (Biego)  composed  17  four- 
part  antiphons  and  motets,  34  vesper 
hymns,  eight  magnificats,  nine  psalms, 
and  other  church  pieces;  wrote  on 
theory;  ehapelmaster  to  the  Spanish 
Viceroy  at  Naples  from  1558.  B.  1530, 
Toledo;    d.  after  1565. 

Orto,  de  (Marbriano)  composed 
masses,  motets,  chansons;  from  1505 
to  1516  chaplain  and  court  singer  to 
Philip  le  Bel  of  Burgundy. 

O  Salutaris  Hostla.  Hymn  some- 
times sung  after  the  Benedictus  in  the 
MASS  or  at  the  Benediction  of  the 
Blessed  Sacrament,  believed  to  be  part 
of  that  entitled  "Verbum  supernum 
prodiens,"  which  was  written  by  St. 
Thomas  Aquinas  for  the  Feast  of  Cor- 
pus Christi. 

Osiander  (Lucas)  published  a  Ger- 
man chorale  book,  Stuttgart,  1586, 
in  which  the  melody  appears  in  the 
descant  or  soprano  part  instead  of  in 
the  tenor;  pastor  at  Esslingen.  B. 
Deo.  16,  1534,  Nuremberg;  d.  Sept.  7, 
1604,  Stuttgart. 

Osservauza,  con.  It.  With  pre- 
cision. 

Ossia.  /*.  Otherwise,  else,  as  Piu 
Facile,  otherwise  in  this  easier  way. 

Ostinato.  /*.  Obstinate,  often 
recurring. 

O'Sullivan  (Denis)  sang  bar.  in 
opera  with  the  Carl  Rosa  Company, 
debut,   1895,  in  Dublin  as  Ferrando, 


later  in  light  opera  and  concerts  in 
England  and  America;  pupil  of  Ugo 
Talbo  and  Karl  Formes.  B.  April  25, 
1868,  San  Francisco;   add.  London. 

Oswald  (James)  composed  minuets, 
Scots  tunes,  chamber  music,  songs; 
one  of  the  many  for  whom  the  com- 
position of  "  God  Save  the  King  "  has 
been  claimed ;  was  originally  a  Scotch 
dancing  master,  but  later  music  teacher 
to  George  III,  court  composer,  and  a 
publisher  of  music  in  London.  First 
publication,  1734,  Dumferline.  D. 
1769,  Knebworth. 

Otello.  Giacomo  Rossini's  opera, 
to  book  based  on  Shakespeare's  trag- 
edy, was  first  performed  Dec.  4.  1816, 
at  the  Pondo,  Naples,  but  never 
achieved  wide  popularity.  Giuseppe 
Verdi's  four-act  opera,  to  book  by 
Boito,  in  which  the  English  tragedy 
is  still  more  closely  followed,  was  first 
performed  Feb.  5,  1887,  at  La  Scala, 
Milan,  and  later  with  complete  suc- 
cess in  other  musical  centres.  An  ex- 
cellent production  in  English  was 
given  by  the  Henry  W.  SAVAGE  Opera 
Company.  In  the  condensation  of  the 
text  Boito  makes  the  opera  begin  with 
the  arrival  of  Otello  in  Cyprus.  There 
seems  to  be  no  need  of  repeating  the 
story  of  the  Moor's  undoing  and  the 
death  of  Desdemona,  rSles  created  by 
Tamagno,  ten.,  and  Sig.  Pantaleoni, 
sop.,  while  the  original  lago  was 
Maurel,  bar.;  and  it  will  suffice  to 
give  the  principal  musical  numbers: 
Act  I :  "  Fuoeo  di  gioia,"  soldiers' 
chorus;  Brindisi,  lago,  followed  by 
the  chorus  "  Inaffia  I'ugola-trinca  tra 
canna  " ;  "  Mio  superbo  guerrier,"  Des- 
demona; "Venga  la  morte,"  Otello; 
"Gia  nella  notte,  deusa,"  Desde- 
mona and  Otello ;  Act  II :  "  Credo 
in  un  Dio  crudel,"  lago ;  "  Miseria 
mia,"  Otello ;  "  Dove  guardi  splen- 
dono,"  children's  chorus ;  "  Addio  sub- 
limi  incanti,"  Otello;  Act  III:  "Dio 
ti  giocondi,"  Otello  and  Desdemona; 
"Dio  mi  potevi  scaglier,"  Otello;  *'A 
terra!  si,  nel  livido,"  Desdemona; 
Act  IV:  "  Piangia  cantando  "  (Willow 
song),  Desdemona;  "Ave  Maria," 
Desdemona. 

Otger  (Abbot)  probably  wrote 
"  Musica  Enchiriadis  "  and  "  Scolica 


OTHMAYR 


465 


OURY 


Enchiriadis,"  theoretical  works  re- 
printed by  Gerbert;  probably  a,  con- 
temporary of  HUCBALD,  to  whom 
these  works  have  also  been  ascribed. 

Othmayr  (Kaspar)  composed  songs, 
sacred  music;  provost  of  St.  Gum- 
bert's  Church  (Lutheran),  Anspaeh. 
B.  Amberg,  Upper  Palatinate,  Mar.  12, 
1515;    d.  Feb.  4,  1553. 

Oton.  Indian  drone  pipe,  employed 
with  tambourine  as  accompaniment  to 
dancing. 

Ott  (Jean)  manufactured  lutes  in 
Nuremberg,  and  was  one  of  the  earliest 
German  violin  makers.    D.  after  1463. 

Ott  (Otto  Johannes)  published  mu- 
sic in  Nuremberg  in  partnership  with 
Hieronymus  Formschneider,  including 
works  of  Josquin,  Isaac,  and  Senfl; 
publications  dated  1533-1550. 

Ottava.    It.    Octave. 

Ottavino  Flauto.  It.  PICCOLO 
Flute. 

Ottemole.     OCTUPLET. 

Otter  (Franz  Joseph)  composed 
concertos  and  sonatas  for  violin; 
played  violin,  Salzburg  Cathedral  and 
Vienna  Chapel  Royal;  pupil  of 
Michael  Haydn.  B.  1760,  Nandlstadt, 
Bavaria;   d.  Sept.  1,  1836. 

Ottetto.  It.  Composition  in  eight 
parts. 

Ottey  (Sarah)  played  violin,  harp- 
sichord, and  bass  in  London  concerts; 
one  of  the  first  women  instrimiental- 
ista,  according  to  Burney.  B.  about 
1695. 

Otto  (Ernst  Julius)  composed  the 
opera  "  Schloss  am  Rhein,"  oratorios, 
masses,  songs;  cantor  at  Dresden.  B. 
Sept.  1,  1804,  Konigstein;  d.  Mar.  5, 
1877,  Dresden.  Franz  sang  bass.  B. 
June  3,  1809;  brother  of  ERNST 
JULIUS;    d.  April  30,  1842. 

Otto  (George)  composed  Latin  mo- 
tets, five  to  eight  parts,  German  sacred 
music,  five  to  six  parts;  chapelmaster 
and  instructor  to  the  Landgrave  of 
Hesse-Cassel.  B.  Torgau,  1544;  d. 
after  1519. 

Otto  (Jacob  Augustus)  made  vio- 
lins, wrote  on  violin  making,  Eng. 
trans.,  as  "Treatise  on  the  Structure 
and  Preservation  of  the  Violin,"  Lon- 
don, 1848,  B,  1762,  Gotha;  d.  1830, 
Jena, 


Otto  (Ilelita  Alvsleben)  sang  sop. 
in  Dresden  Opera,  rOles  including 
Queen  of  the  Night,  Martha,  Eva, 
1860-73;  soloist  Beethoven  Centen- 
ary, Bonn,  1871,  Cincinnati  Festival, 
1879;  pupil  Dresden  Conservatory.  B. 
Dresden,  Dec.  16,  1842;  d.  Dresden, 
Jan.  13,  1893. 

Otto  (Stephen)  composed  much 
church  music,  including  a  19-part  set- 
ting of  "  Ein'  feste  Burg,"  divided  into 
four  choirs;  may  have  been  first  to 
adapt  dialogue  form  to  sacred  com- 
positions ;  cantor  at  Schandau ;  pupil 
of  Demantius,  to  whom  he  was  for  a 
time  assistant  cantor  at  Freiberg.  B. 
Freiberg,  Saxony,  1594;    d.  after  1648. 

Oudin  (Euglne  Esperance)  sang 
bar.  in  opera,  debut  1886,  Wallack's 
Theatre,  New  York,  M'Caul  Opera 
Company,  later  such  rSles  as  Eugen 
Onegin,  Wolfram,  Telramund,  becom- 
ing a  favourite  concert  singer  in  Lon- 
don ;  composed  an  "  O  Salutaris," 
songs;  Yale  graduate,  and  in  early 
life  lawyer  in  New  York.  B.  Feb.  24, 
1858,  New  York;  m.  the  singer  Louise 
Parker,  1886;  d.  Nov.  4,  1894,  London. 

Ouie.    Fr.    The  hearing. 

Oulibichefe,  von  (Alexander) 
wrote  a  valuable  biography  of  Mozart, 
but  is  chiefiy  known  for  attacks  on 
Beethoven;  played  violin  in  amateur 
quartets.  B.  Dresden,  1795,  where  his 
father  was  the  Russian  ambassador; 
d.  Jan.  24,  1858,  on  his  estates  near 
Nigni-Novgorod. 

"  Ou  Feut-on  Etre  IKEieuz  Qu'au 
Sein  de  Sa  Famille  "  became  a  fa- 
vourite song  of  the  French  royalists 
during  the  Revolution,  and  is  still  re- 
garded as  the  peculiar  song  of  the 
House  of  Bourbon.  The  words,  taken 
from  Grety's  "  Lucile,"  1769,  mean: 
"  Where  can  one  be  better  than  in  the 
bosom  of  his  family?" 

Ouragan.  Alfred  Bruneau's  four- 
act  lyric  drama,  to  book  by  Emile 
Zola,  was  first  performed  April  29, 
1901,  at  the  Paris  Opfira  Comique. 

Ours.  Name  given  one  of  Haydn's 
symphonies  which  opens  with  a  bear- 
dance. 

Oury  (Antonio  James)  played  vio- 
lin at  leading  London  concerts,  in 
quartets,   and  on  successful  tours  of 


30 


OTTSELET 


466 


PACELLI 


Europe;  pupil  of  Kreutzer,  Baillot, 
and  Lafont,  Paris.  B.  1800,  London; 
m.  Anna  Caroline  de  BELLVILLE; 
d.  July  25,  1883,  Norwich. 

Ouseley  (Bev.  Sir  Frederick  Ar- 
thur Gore,  Bart.)  composed  the  ora- 
torio "Hagar,"  Hereford  Festival, 
1873;  11  services  for  the  Anglican 
church,  70  anthems,  preludes,  fugues, 
and  sonatas  for  organ,  two  string  quar- 
tets; Oxford  professor  of  music.  Pre- 
centor of  Hereford  Cathedral;  Mus. 
Dr.,  LL.D.;  wrote  text-books  on  Har- 
mony, Counterpoint,  and  Fugue,  Form 
and  General  Composition;  said  to  have 
composed  the  opera  "L'Isola  disabi- 
tata  "  at  eight.  B.  London,  Aug.  12, 
1825;  son  of  the  English  ambassador 
to  Persia  and  St.  Petersburg;  d.  April 
6,  1889,  Hereford. 

Ouvert.    Fr.    Open. 

Ouverture.    Fr.    OVERTURE. 

Overblow.  To  increase  the  wind 
pressure,  and  thus  force  a  pipe  to 
speak  an  upper  partial  instead  of  its 
fundamental  note.  The  upper  octaves 
of  the  flute's  compass  are  produced  by 
overblowing.  The  overflowing  of  an 
organ  pipe,  which  is  generally  averted 
by  the  waste  pallet,  is  a  scream  rather 
than  a  musical  sound. 

Overend  (Marmaduke)  composed 
an  "  Epithalamium  "  for  the  marriage 
of  Greorge  III  of  England,  12  sonatas 
for  two  violins  and  ^cello ;  published 
"A  Brief  Account  of,  and  Introduc- 
tion to.  Eight  Lectures  on  Music"; 
pupil  of  Dr.  Boyce.    D.  1790,  London. 

Oversptm.  Strings  such  as  the  G 
for  violin,  covered  with  spun  wire,  are 
so  called. 

Overstringing.  Method  of  arrang- 
ing the  lower  bass  strings  of  the 
PIANO  by  which  they  overlay  other 
strings. 

Overtones.  Partial  tones  or  HAR- 
MONICS. 

Overtura  di  Ballo.  /*.  Overture 
in  the  style  of  dance  music. 

Overture.  "  Opening."  Operas  and 
oratorios  are  usually  preceded  by  an 
instrumental  prelude,  which  may  be 
built  out  of  the  principal  themes  of 
the  work  which  is  to  follow,  or  may 
be  quite  independent  of  them:.  The 
overture   or   "  Synfonia "    to   Monte- 


verde's  "  Orfeo  "  was  very  brief,  as  was 
that  to  Wagner's  "  Lohengrin."  Bee- 
thoven composed  no  less  than  four 
overtures  to  his  only  opera,  "  Fidelio," 
and  Verdi's  "  Otello  "  and  many  other 
operas  have  no  overture  whatever. 
Overtures  are  nearly  always  in  the 
sonata  FORM,  being,  in  fact,  brief 
symphonies,  played  without  pause  be- 
tween the  several  movements.  In  all 
cases  the  overture  is  a  complete  work 
in  itself,  may  be  given  in  concert  form, 
and  it  sometimes  happens  that  con- 
cert overtures  are  composed  which 
have  no  relation  to  any  dramatic  work. 

Oxybaphon.  Or.  "  Vinegar  jar." 
Earthenware  vessel  used  in  acoustical 
experiments. 

Oxypycni.  "Acute  Close."  Church 
Modes  with  pyknon  high  in  the  tetra- 
chord. 

Owst  (Wilberfoss  G.)  composed  a 
Communion  Service,  anthems,  songs; 
played  organ  in  Baltimore  churches; 
wrote  music  criticism ;  pupil  of  Eaton 
Fanning  and  H.  Gadsby,  London,  and 
of  the  Stuttgart  Conservatory,  1893- 
95 ;  Fellow  Royal  College  of  Organists. 
B.  June  13,  1861;    add.  Baltimore. 


P  is  the  abbreviation  for  Piano, 
"  soft." 

Pacohierotti  (Gaspare)  was  for  25 
years  the  most  celebrated  of  the  world's 
sopranists ;  prime  favourite  through- 
out Italy,  in  London,  and  Paris;  in 
boyhood  chorister  either  at  St.  Mark's, 
Venice,  or  at  Forli;  retired  after  the 
opening  of  La  Fenice,  Venice,  1792; 
said  by  his  adopted  son  to  have  been 
pupil  of  Bertoni.  B.  Fabriano,  near 
Ancona,  1744;  d.  Oct.  28,  1821. 

Pacchionl  (Antonio  Xaria)  com- 
posed oratorios  and  church  music; 
chaplain  and  vice  ehapelmaster  to  the 
court  of  Modena.  B.  July  5,  1654, 
Modena;   d.  July  16,  1738. 

Pace  (Pietro)  composed  nine  hooka 
of  motets,  madrigals,  and  arie  apir- 
ituali;  magnificats  and  other  church 
music;  played  organ,  Pesaro,  and  at 
Loretto  Santa  Oasa,  1597  and  1613. 

Pacelli  (Asprilio)  composed  psalms, 
motets,  madrigals ;  choirmaster  at  the 
Vatican,  Rome,  and  for  20  years,  from 


FACEELBEL 


467 


FADILLA   T  KAKOS 


1603,  chapelmaster  to  the  King  of  Po- 
land, Warsaw.  B.  Varciano,  Umbria, 
1570;    d.  May  4,  1623,  Warsaw. 

Pachelbel  (Johann)  composed  six 
suites  for  two  violins,  organ  fugues, 
elaborate  settings  of  chorales;  pupil 
of  and  deputy  organist  to  Kerl  in  the 
Vienna  Imperial  chapel;  later  organ- 
ist at  Eisenach,  Stuttgart,  Gotha,  and 
at  the  Erfurt  Predigerkirche  and  Nu- 
remberg Sebalduskirche ;  regarded  as 
a  forerunner  of  J.  S.  Bach.  B.  1653, 
Nuremberg;  d.  Mar.  3,  1706,  Nurem- 
berg. Wilhelm  Hieronymus  com- 
posed preludes,  fugues,  and  variations 
for  organ  or  harpsichord;  played  or- 
gan, Nuremberg  Sebalduskirche,  in 
succession  to  his  father,  whose  pupil 
he  was.  B.  1685,  Erfurt;  son  of  JO- 
HANNT;  d.  about  1764. 

Pachmann,  de  (Vladimir)  played 
piano,  touring  the  world  as  virtuoso, 
especially  admired  for  interpretations 
of  Chopin,  but  somewhat  given  to  such 
eccentricities  as  commenting  to  his 
audience  upon  the  music  during  a  per- 
formance; knight  of  the  Order  of  the 
Dannebrog;  pupil  of  the  Vienna  Con- 
servatory, and  of  his  father,  an  ama- 
teur violinist  and  professor  at  Odessa 
University.  B.  July  27,  1848,  Odessa; 
add.  Berlin. 

Pacini  (Giovanni)  composed  the 
operas  "  Saffo,"  1840,  Naples;  "Me- 
dea," 1843,  Palermo;  "La  Regina  di 
Cipro,"  1846,  Turin;  " Niccolo  de' 
Lapi"  (posth.),  Florence,  1873;  in  all 
90  operas,  a  quartet  in  C,  cantata  for 
the  Dante  Centenary,  and  70  other 
works;  became  chapelmaster  to  the 
Empress  Marie  Louise;  founded  a 
successful  musical  institute  in  Naples, 
afterwards  transferred  to  Lucca ;  wrote 
instruction  books  in  theory  and  an 
autobiography ;  directed  a  music  school 
in  Florence;  was  chevalier  of  many 
orders;  pupil  of  Marches!,  Bologna, 
and  Furlanetto,  Venice.  B.  Feb.  17, 
1796,  Catania;  d.  Dec.  6,  1867,  Pescia. 
Emilio  wrote  libretti;  brother  of 
GIOVANNI.  B.  1810;  d.  Dec.  2,  1898, 
Neuilly,  near  Paris. 

Paciotti  (Pietro  Paolo)  composed 
masses,  motets,  and  a  book  of  six-part 
madrigals;  choirmaster  of  the  Semi- 
nario,  Kome,  1591. 


Faderewski  (Ignaz  Jan)  played 
piano  in  concerts  and  recitals,  debut 
in  1876,  making  repeated  tours  of  the 
world  from  1887,  when  he  was  cor- 
dially received  as  virtuoso  in  Vienna 
and  Paris,  and  attained  exceptional 
popularity  in  America,  where  he  was 
engaged  in  1908,  then  becoming  di- 
rector of  the  Warsaw  Conservatory; 
composed  the  opera  "  Manru,"  A  minor 
concerto  for  piano  and  orchestra. 
Op.  17 ;  sonata  for  piano  and  violin. 
Op.  13;  humoresques  de  concert  (con- 
taining the  popular  minuet  in  G), 
Op.  14,  songs  and  piano  pieces.  A 
pupil  of  Raguski  at  the  Warsaw  Con- 
servatory, Faderewski  taught  for  a 
time  in  that  institution,  then  settled 
in  Berlin,  where  he  studied  with  Ur- 
ban and  Wiiest,  and  in  1884  became  a 
pupil  of  Leschetizky  in  Vienna.  His 
extraordinary  success  in  America  was 
due  not  less  to  his  remarkable  mastery 
of  the  piano  than  to  the  ingenuity  of 
the  press  agent  who  invented  ro- 
mantic stories,  and  to  the  cartoonists 
who  found  a  wealth  of  material  in 
his  hair.  Despite  the  sensationalism 
which  marked  his  early  tours,  he  estab- 
lished himself  as  an  artist  of  the  first 
rank,  and  proved  his  gratitude  to  the 
American  people  by  founding  the  Fad- 
erewski Fund,  May  15,  1900.  $10,000 
was  placed  in  the  custody  of  Henry  L. 
Higginson  and  William  P.  Blake,  of 
Boston,  and  every  three  years,  from 
the  income  of  this  sum,  cash  prizes 
were  awarded  for  the  best  composi- 
tions by  American  composers.  In  1902 
cash  prizes  of  $500  each  were  awarded 
Henry  K.  Hadley  for  his  symphony, 
"The  Seasons";  to  Horatio  W.  Parker 
for  his  "  Star  Song  "  for  chorus,  soli, 
and  orchestra ;  and  to  Arthur  Bird  for 
his  wind  sextet.  The  only  prize 
awarded  at  the  next  competition  was 
adjudged  to  Arthur  Shepherd,  of  Salt 
Lake  City,  for  his  "Ouverture  Joy- 
euse."  B.  Nov.  6,  1860,  Kurylowka, 
Podolia,  Poland;  left  a  widower  in 
early  manhood,  m.  Mme.  Gorski,  1899 ; 
add.  Warsaw. 

Fadilla  y  Kamos  (ItCariano)  sang 
bar.  in  opera,  the  Don  Giovanni  of  the 
Prague  Centenary  performance,  1887, 
and  with  success  at  Messina,  Turin,  ^ 


PADLOCK 


468 


FAGANIITI 


Vienna,  London,  St.  Petersburg;  pupil 
of  Mabellini,  Florence.  B.  1842,  Mur- 
cia,  Spain;  m.  Desirfie  AKTOT;  d. 
1906. 

Padlock.  Charles  Dibdin's  English 
opera,  to  book  by  Isaac  Bickerstaffe, 
was  first  performed,  1768,  at  Covent 
Grarden,  London. 

Padua  was  the  home  of  the  Costanti 
Accademia,  founded  1566  for  the  culti- 
vation of  the  arts  and  sciences,  music 
included,  and  of  the  University  where 
Marchetto  di  Padova  taught  music 
between  the  years  1274-1309.  The 
Paduana  or  PA  VAN  probably  origi- 
nated there. 

Paduana  or  Padouana.    PA  VAN. 

Paean.  Chr.  Hymn  to  Apollo,  so 
called  from  the  words  constituting  its 
refrain. 

Paer  (Perdinando)  composed  "  Ca- 
milla, ossia  il  Soteraneo,"  1801;  "  El- 
eonora,  ossia  I'Amore  conjugale,"  1803 
(also  the  subject  of  "FIDELIO"); 
"Agnese,"  1811;  "  Le  Maltre  de  Cha- 
pelle,"  1821,  and  in  all  40  operas,  the 
oratorios  "  II  santo  sepolcro,"  "  La 
Passione,"  a  Bacchanalian  symphony, 
church,  and  chamber  music;  was 
chapelmaster  to  Napoleon  I,  1807  to 
1812,  when  he  succeeded  Spontini  at 
the  Italian  opera;  member  of  the 
Acadgmie  and  director  of  the  King's 
chamber  music,  1832;  pupil  of  Gas- 
paro  Ghiretti,  and  a  chapelmaster  in 
Venice  at  20.  B.  June  1,  1771,  Parma; 
d.  May  3,  1839,  Paris. 

Paganini  (Niccolo)  became  the 
most  famous  virtuoso  violinist  of  all 
times,  acquiring  a  technique  so  mar- 
velous that  he  was  thought  to  be  in 
league  with  supernatural  powers,  was 
really  the  first  to  develop  a  complete 
harmonic  scale  for  violin  and  to  ob- 
tain certain  effects  in  double  stopping 
and  pizzicato  by  means  of  special  tun- 
ings, and,  while  undoubtedly  a  man  of 
genius,  rather  a  charlatan  than  a  wiz- 
ard. Paganini's  father,  who  was  em- 
ployed in  the  shipping  business  at 
Genoa,  gave  him  his  first  instruction 
on  the  mandolin  and  violin,  but  treated 
him  with  great  severity.  After  further 
instruction  by  the  violinist,  Servetto, 
the  child  was  placed  with  Giacomo 
Costa,  chapelmaster  at  the  Cathedral, 


and  in  two  years,  being  then  nine  years 
of  age,  he  appeared  at  a  concert  given 
in  Genoa  by  the  singers  Marchesi  and 
Albertinotti,  where  he  played  his  own 
variations  on  "  La  Carmagnole."  At 
Costa's  suggestion  he  then  played  solos 
in  the  Cathedral  each  Sunday,  acquir- 
ing an  extensive  repertoire.  Gnecco, 
the  composer,  befriended  the  young 
violinist,  and  in  1895  he  was  taken  to 
Parma  to  study  with  Alessandro  Rolla, 
and  gave  a  successful  concert  in  that 
city.  It  is  probable  that  he  studied  for 
two  years  with  Ghiretti  and  several 
months  with  Kolla.  In  1797,  after  a 
successful  tour  of  Lombardy  with  his 
father,  the  boy,  then  13  years  old, 
shook  off  parental  control,  and  played 
in  various  Italian  cities.  Falling  into 
bad  company,  he  pawned  his  violin  to 
pay  a  gambling  debt,  but  on  the  eve 
of  a  concert  for  which  he  was  billed  in 
Leghorn,  Livron,  a  French  merchant 
presented  him  with  the  splendid  Guar- 
nerius,  which  was  thereafter  his  fa- 
vourite instrument,  and  which,  under 
the  terms  of  his  will,  is  preserved  in 
the  Salla  Rossa  of  the  Genoa  Munici- 
pal Palace.  From  1801  to  1804  Paga- 
nini  was  involved  in  a  love  affair  which 
occasioned  his  retirement  to  Tuscany, 
during  which  time  he  devoted  himself 
to  the  guitar  and  to  composition.  This 
interregnum  in  his  public  career  sub- 
sequently gave  rise  to  the  story  that 
he  had  been  imprisoned,  and  there 
practised  playing  a  violin  for  which 
a  hard-hearted  jailor  would  allow 
him  but  one  string.  In  1805  he  again 
appeared  as  a  violinist,  and  was 
appointed  court  virtuoso  to  Elisa, 
Princess  of  Lucca  and  sister  of  Na- 
poleon. He  was  soon  director  of  mu- 
sic, conductor  of  the  opera  orchestra, 
and  (that  he  might  be  admitted  to 
court  functions  from  which  a  mere 
musician  would  be  debarred)  Captain 
of  the  royal  body-guard.  "  Scene 
Amoureuse,"  for  two  strings,  and  the 
G  string  sonata,  "Napoleon,"  were 
composed  in  the  service  of  the  Prin- 
cess. A  series  of  tours  of  Italy  began 
in  1808,  and  in  1813  Princess  Elisa, 
then  Grand  Duchess  of  Tuscany  with 
court  in  Florence,  having  refused  to 
permit  him  to   conduct  wearing  his 


FAGANINI 


469 


PAGLIACCI 


captain's  uniform,  Faganini  left  her 
service  and  devoted  himself  entirely 
to  concert  work.  In  1820  he  was  rich 
enough  to  settle  30,000  francs  on  his 
mother.  In  1828  he  captivated  the 
court  of  Vienna.  Pope  £eo  XII  had 
made  him  knight  of  the  Golden  Spur, 
the  Emperor  made  him  court  virtuoso, 
and  the  municipality  of  Vienna  gave 
him  the  gold  medal  of  St.  Salvator. 
After  sensational  tours  of  Germany  he 
made  his  debut  in  Paris,  1831,  where 
he  was  received  with  wild  enthusiasm, 
and  then  visited  London,  where  he  de- 
manded $25,000  for  12  concerts,  and 
received  a  total  of  between  $80,000  and 
$85,000  in  less  than  a  year.  While  in 
Paris,  1834,  he  requested  Berlioz  to 
write  him  a  viola  solo,  and  thus  in- 
spired "  Harold  en  Italic."  A  present 
.  of  20,000  francs  to  Berlioz  rescued 
that  composer  from  despair,  and  may 
be  regarded  as  typical  of  Paganini's 
generosity,  despite  Sir  Charles  Halle's 
gossip  that  the  money  really  came 
from  Bertin  of  the  "Journal  des  De- 
bats."  In  1836  Paganini  lent  his  name 
to  a  gambling  house  venture  in  Paris, 
which  cost  him  50,000  francs,  but  this 
sum  he  easily  recouped  by  concerts. 
He  had  received  the  Order  of  St. 
George  from  the  Duchess  of  Parma, 
and  was  at  the  height  of  his  fame  and 
power,  but  the  privations  of  child- 
hood had  begun  to  tell  upon  a  con- 
stitution never  robust,  and  in  1839  he 
was  ordered  to  the  South  by  his  phy- 
sicians. He  played  in  Marseilles  with 
old  time  vigour,  and  then  returned  to 
Genoa.  There  his  disease,  phthisis  of 
the  larynx,  became  more  acute,  and  he 
went  to  Nice  to  pass  the  winter.  His 
improvisations  during  the  last  few 
days  of  his  life  were  said  to  have  been 
wonderful,  and  his  last  act  was  to 
stretch  forth  his  hands  for  his  violin. 
The  bulk  of  his  estate,  amounting  to 
$400,000,  went  to  his  son  by  the 
dancer  Antonia  Bianehi,  known  as 
Baron  Achillino.  During  his  lifetime 
the  only  compositions  published  were 
24  caprices  for  solo  violin,  12  sonatas 
for  violin  and  guitar,  three  grand 
quartets  for  violin,  viola,  guitar,  apd 
'cello.  Posthumous  publications  in- 
clude:  Concerto  in  E,  Op.  6;   Concerto 


in  B  minor,  Op.  7 ;  "  Le  Streghe " 
(Witches  Dance),  Op.  8;  variations 
on  "  God  Save  the  King,"  etc..  Op.  9 ; 
Burlesque  variations  on  "  Le  Carna- 
val  de  Venise,"  Op.  10;  "Moto  Per- 
petuo,"  Op.  11;  Variations  on  "  Non 
pia  mesta,"  Op.  12;  Variations  on 
"Di  tanti  palpiti,"  Op.  13;  60  varia- 
tions in  all  keys  on  the  Genoese  air 
"  Barucaba,"  Op.  14.  The  discovery  of 
14  more  works  was  reported  in  Genoa, 
Nov.,  1907.  Biographies  were  written 
by   Fetis,   Paris,    1851,   Eng.   trans.; 

A.  Niggli,  O.  Bruni,  Schottky,  Schutz, 
and  others.  B.  Feb.  18,  1784,  Genoa; 
d.  May  27,  1840,  Nice. 

Page  (John)  edited  "  Harmonia 
Sacra,"  London,  1800,  and  other  col- 
lections of  music,  sacred  and  secular; 
sang  ten.;  deputy  at  Eng.  Chapel 
Royal;    clerk  of  St.  George's  Chapel. 

B.  Dec.  3,  1790;   d.  1812,  London. 
Pagin  (Andrg  IToel)  composed  six 

violin  sonatas,  published  with  bass  and 
also  with  harpsichord  accompaniment, 
Paris,  1748;  played  violin;  pupil  of 
Tartini.  B.  1721,  Paris;  d.  after 
1770. 

Fagliacci.  Ruggiero  Leoncavallo's 
two-act  opera,  to  his  own  book,  was 
first  performed  May  21,  1892,  at  the 
Teatro  del  Verme,  Milan,  and  has 
since  become  popular  throughout  the 
world.  Whether  the  story  is  based  on 
an  incident  in  life  or  borrowed  from 
Catulle  Mendez'  "  La  Femme  de  Ta- 
barin  "  is  unimportant,  since  the  fact 
remains  that,  as  treated  by  Leonca- 
vallo, it  is  so  highly  dramatic  that  it 
was  performed  as  a  play  in  English  in 
1908,  while  the  music  is  very  beautiful 
and  effective.  The  Pagliacci,  wander- 
ing show  people,  arrive  at  an  Italian 
village  where  they  prepare  to  give  a 
performance.  The  company  is  com- 
posed of  Canio,  who  plays  the  r6le  of 
Punchinello;  Nedda,  his  wife,  who  is 
the  Columbine ;  Tonio,  the  Clown,  and 
Beppe,  the  Harlequin.  Tonio,  who 
loves  Nedda,  ventures  to  tell  her  so, 
but  is  rebuffied,  and  finally  slashed 
across  the  face  with  a  whip.  He 
swears  revenge,  and  a  few  moments 
later  overhears  Nedda  planning  to 
elope  with  Silvio,  a  young  villager. 
Tonio  tells  Canio  of  his  wife's  infi- 


PAINE 


470 


PAISIBLE 


delity,    and    the    husband    surprises 
Nedda  and  Silvio  together,  although 
Silvio   escapes   without   being   recog- 
nized.     Beppe    prevents    Canio    from 
killing  Nedda,   and   preparations   for 
the   performance   are   resumed.     The 
second    act    discloses    a    little    rustic 
theatre  facing  a  row  of  benches  in  the 
open  air.    Tonio  collects  the  peasantry 
by   beating  his   drum,   and,   as   they 
assemble,  Silvio  makes  an  appointment 
with  Nedda,   who   is   taking   up   the 
money  from  the  spectators.    The  cur- 
tain of  the  little  theatre  rises,  disclos- 
ing a  situation  which,  to  the  actors,  is 
reality  itself.     The  Columbine  of  the 
play    is   entertaining   her    lover,    the 
Harlequin,  and  planning  to  poison. her 
husband,  Punchinello,  while  the  Clown 
awaits  the  husband  outside,  meaning 
to  warn  him.     Punchinello    (Canio) 
enters  just  in  time  to  hear  his  wife 
making  an  appointment  with  her  lover, 
and  demands  to  know  his  name.    Col- 
umbine  refuses  to  tell.     Punchinello 
is   no   longer   acting,   but   living  the 
tragedy  of  his  own  life,  and,  as  he 
breaks  down  with  emotion,  the  audi- 
ence applauds  the  reality  of  the  scene. 
Again  Punchinello  demands  the  name 
of   the    man   who    has    injured   him. 
Again  Columbine  refuses,  but,  realiz- 
ing her  danger,  calls  aloud  for  help. 
Silvio  rushes  toward  the  stage,  but, 
before  he  can  reach  it,  Punchinello  has 
plunged  his   dagger   into   Columbine, 
and  in  a  moment  more  stabs  Silvio. 
Then  Canio  cries  to  the  horrified  spec- 
tators :    "  The    comedy   is    finished !  " 
and  the  curtain  falls.     In  lieu  of  an 
overture  there  is  a  splendid  prologue, 
sung  before  the  curtain  by  Tonio.    The 
principal  musical  numbers  are :  Act  T : 
"O,  ohe  volo  d'angello,"  Nedda,  and 
her  duet  with  Silvio,  "E  allor  perche"; 
"So  ben  che  difforme,"  Tonio;  "Vesti 
la  giubba,"  Canio;  Act  II:  "  O  Colum- 
bine, il  tenero  fido  arlecchin,"  Beppe 
(as    the    Harlequin)  ;    "  Suwia,    cosi 
terribile,"  Nedda. 

Paine  (John  Knowles)  obtained 
the  first  recognition  of  music  as  an 
elective  course  in  an  American  college, 
and  was  made  professor  of  music. 
Harvard  University,  Aug.  30,  1875,  the 
first  American  to  hold  such  an  office; 


distinguished    himself    as    a    teacher, 
organist,  pianist,  and  composer.    After 
preliminary  musical  instruction  from 
Hermann    Kretschmar    in    Portland, 
Me.,  Paine  became  a  pupil  of  the  Ber- 
lin  Hoehschule,    under    Haupt,    Wie- 
precht,  and  Teschner.     Before  return- 
ing to  America  he  made  a  successful 
tour  of  Germany  as  organist,  but  in 
1862  settled  in  Boston  as  instructor  in 
music,  also  serving  as  the  college  or- 
ganist for  the  next  10  years.    His  first 
important  composition,  a  Mass  in  D, 
was  performed  in  1867  by  the  Berlin 
Singakademie,  the  composer  conduct- 
ing.    The  oratorio  "  St.   Peter "  was 
produced  at  Portland,  Me.,  1873,  and 
later  by  the  Boston  Haydn  and  Handel 
Society.    A  symphony  in  C  minor,  the 
Spring  symphony  in  A,  and  the  sym- 
phonic poem   "An   Island   Fantasy" 
were  all  produced  by  Theodore  Thomas, 
and  in  1888  his  "  Song  of  Promise,"  a 
cantata,  was  a  feature  of  the  Cincin- 
nati  May   Festival.     Other   composi- 
tions were :    music  to  "  (Edipus  Tyran- 
nus  "  and  "  The  Birds,"  a  setting  of 
Whittier's  hymn  for  the  Philadelphia 
Exposition,   a    Columbus   March   and 
Hymn  for  the  World's  Fair  at  Chicago, 
Stedman's  "Hymn  of  the  West"  for 
the    Louisiana    Purchase    Exposition, 
St.  Louis,   1904,  an  overture  to  "As 
You   Like   It,"   the   symphonic   poem 
"The  Tempest,"  the  cantatas  "Phoebus 
Arise,"  "The  Realm  of  Fancy,"  and 
"The   Nativity."     "Azara,"   a   grand 
opera  on  a  Moorish  subject,  like  most 
serious  operas  by  American  composers, 
has  never  obtained  a  hearing,  although 
composed  in  1901.     The  composer  re- 
ceived an  honorary  M.A  from  Harvard, 
1869,   and  the   degree  Mus.  Dr.   from 
Yale,  1890.    B.  Jan.  9,  1839,  Portland, 
Me. ;    d.  April  25,  1906,  Boston. 

Pair  of  Organs.  Obsolete  term  for 
the  ORGAN  which  arose  during  the 
period  in  which  the  choir  and  grand 
organs  were  often  distinct  instruments. 

Paisible  (James)  composed  over- 
tures and  incidental  music  for  "  King 
Edward  the  Third,"  "Henry  IV," 
"  She  would  and  she  would  not," 
sonatas,  and  duets  for  flute;  headed 
the  King's  Band  of  Music  in  London, 
1714-19. 


PAISIELLO 


471 


FALESTBIITA 


■Paisiello  (Oiovannl)  composed  a 
"  BAKBER  OF  SEVILLE  "  which  the 
Roman  public  preferred  to  that  of 
Rossini;  was  the  favourite  composer 
of  Napoleon  I,  who  made  him  his 
chapelmaster,  and,  on  his  retirement, 
permitted  him  to  name  Lesueur  as  hia 
successor.  A  pupil  of  Father  Carlo 
Presta,  S.J.,  in  childhood,  Paisiello 
manifested  talent  at  a  very  early  age, 
and  was  placed  in  the  San  Onofrio 
Conservatory  in  Naples,  where  he  was 
a  pupil  of  Durante,  Contumacci,  and 
Abes.  A  dramatic  intermezzo  per- 
formed at  the  Conservatory  won  the 
young  composer  two  commissions  for 
comic  operas  from  Bologna.  "  La  Pu- 
pilla  "  and  "  II  Hondo  a  Rovescio," 
with  which  he  filled  the  order,  were 
well  received,  and  "  L'Idolo  Cinese " 
was  a  success  in  Naples,  although  he 
there  encountered  the  rivalry  of  Pic- 
cinni  and  later  of  Cimarosa.  From 
1776  to  1784  he  was  in  the  service  of 
Empress  Catherine  of  Russia.  Return- 
ing home  by  way  of  Vienna  he  com- 
posed eight  symphonies  for  Emperor 
Joseph  II  and  the  opera  "  II  Re  Teo- 
doro."  For  12  years  from  1784  he  was 
chapelmaster  to  Ferdinand  IV  of 
Naples,  where  he  produced  the  operas 
"Nina,"  "I  Zingara  in  Fiera,"  and 
"  La  Molinara."  His  connection  with 
Paris  began  in  1797,  when  he  composed 
a  funeral  march  for  General  Hoche,  by 
order  of  Napoleon,  then  General  Bona- 
parte. Called  to  Paris  to  organize  the 
music  of  the  First  Consul,  Paisiello 
composed  church  music,  the  opera 
"  Proserpine,"  and  awakened  the  wrath 
of  M€hul  and  Cherubini,  who  were 
jealous  of  the  favour  accorded  him. 
Returning  to  Naples,  he  became  chapel- 
master to  Kings  Joseph  and  Murat, 
but  lost  his  pensions  and  honours  on 
the  return  of  the  Bourbons,  although 
permitted  to  retain  his  salary  as 
chapelmaster.  In  all  Paisiello  com- 
posed about  100  operas,  the  best  of 
which  have  been  mentioned;  a  Pas- 
sion oratorio,  Te  Deum  with  double 
chorus  and  two  orchestras,  30  masses 
with  orchestra,  a  requiem  with  or- 
chestra, which  was  performed  at  his 
funeral,  40  motets,  etc.  The  best  biog- 
raphy is  that  of  his  friend  Lesueur. 


B.  May  9,  1741,  Taranto;  d.  June  S, 
1816,  Naples. 

Faix  (Jacob)  composed  organ  mu- 
sic in  Tablature,  masses,  motets; 
played  organ  at  Lauingen  and  Augs- 
burg. B.  15S6;  son  of  the  organist  of 
St.  Anne's ;   d.  1590,  Augsburg. 

Faladilhe  (l^mile)  composed  the 
opera  "  Patrie,"  founded  on  Sardou's 
drama,  Paris  Op6ra,  Dec.  20,  1886, 
later  in  Hamburg  as  "  Vaterland,"  and 
Milan  as  "  Patria  " ;  the  lyric  drama 
"  Saintes  Maries  de  la  mer,"  1892; 
two  masses,  "  Fragments  Symphon- 
iques,"  and  two  symphonies.  Pupil  of 
Halfivy  in  the  Paris  Conservatoire, 
Faladilhe  won  the  first  piano  prize, 
1857,  and  in  1860  the  organ  prize  and 
the  prix  de  Rome  with  his  cantata 
"Le  Czar  Ivan  IV."  Returning  from 
Rome  he  composed  Coppee's  one-act 
play  "  Le  passant,"  Op€ra  Comique, 
April  24,  1872,  which  became  highly 
popular.  "L' Amour  Africain,"  three 
years  later,  proved  a  failure,  as  did 
"  Diana,"  Opfira  Comique,  1885.  In 
1881  he  received  the  Legion  of  Honor 
and  became  a  member  of  the  Acad€mie 
in  succession  to  Guiraud.  B.  June  3, 
1844,  Montpellier;    add.  Paris. 

Falalaika.    BALALAIKA.. 

Falco.    It.    Stage  of  a  theatre. 

Falestrina  (Giovanni  Fierluigl) 
composed  the  "  MASS  of  Pope  Marcel- 
lus,"  still  regarded  as  the  highest  type 
of  religious  music;  averted  with  this 
and  other  compositions,  contemplated 
action  of  the  Council  of  Trent  dis- 
continuing the  use  of  music  in  the 
churches ;  reformed  the  liturgical  mu- 
sic of  Rome ;  began  a  careful  revision 
of  the  Roman  Gradual  and  Antiphonal, 
completed  by  his  pupil  Giudetti;  was 
the  supreme  faster  of  polyphonic  mu- 
sic. In  1540,  then  a  boy  of  about  14, 
the  future  Composer  left  the  little  town 
from  which  he  took  his  name  for  the 
Eternal  City.  Tradition  says  he  was 
received  into  the  choir  of  Santa  Maria 
Maggiore  by  Maestro  Pittoni,  who 
heard  him  singing  in  the  streets.  An- 
other legend  has  it  that  he  became  a 
pupil  of  Goudimel  or  Gaudio  Mell,  but 
it  is  certain,  in  any  case,  that  on  Oct. 
28,  1544,  he  was  sufliciently  accom- 
plished in  music  to  be  appointed  to  a 


FALESTKINA 


473 


FALESTBINA 


canonry  in  Falestrina,  where  he  sang 
the  daily  office,  taught,  and  played 
organ.  Three  years  later  he  married 
Lucrezia  di  Goris,  but  continued  to 
reside  in  Paleatrina  until  1551,  when 
he  was  called  to  Eome  as  the  first 
chapelmaster  of  the  Julian  Chapel  in 
the  Vatican,  Rubino  and  his  other 
predecessors  having  been  styled  mas- 
ters of  the  boys,  of  the  music,  or  of  the 
choir.  In  1554  he  dedicated  a  volume 
of  masses  to  Pope  Julius  III  and  the 
following  year  was  made  a  singer  in 
the  Pope's  private  chapel,  in  violation 
of  the  rules,  for  he  was  neither  a  celi- 
bate, in  orders,  nor  a  good  singer.  The 
death  of  Julius  and  the  brief  pontifi- 
cate of  Marcellus  II  was  followed 
by  the  succession  to  the  papal  throne 
of  Paul  IV,  who  promptly  dismissed 
Palestrina  from  the  chapel,  although 
allowing  him  the  pension  of  six  scudi 
monthly.  For  a  time  the  composer 
was  prostrated  by  mortification  and 
worry  over  his  poverty,  but  in  two 
months'  time,  Oct.,  1555,  he  became 
chapelmaster  at  the  Cathedral  of  St. 
John  Lateran.  While  holding  that 
post  he  composed  the  famous  IM- 
PROPERIA,  which  the  same  Pope 
Paul  IV  caused  to  be  simg  in  the 
Apostolic  Chapel,  a,  custom  which  still 
continues  in  Rome;  a  set  of  Magnifi- 
cats, and  the  hymn  "  Crux  Pidelis." 
In  1561  he  became  chapelmaster  at 
Santa  Maria  Maggiore,  where  he  re- 
mained 10  years  at  a  salary  of  16 
scudi  per  month.  It  was  during  this 
term  of  office  that  the  Council  of  Trent, 
disgusted  at  the  artificiality  which  had 
crept  into  church  music,  and  still  more 
at  the  prevailing  habit  of  the  com- 
posers of  adapting  street  songs  as 
canti  firml  for  the  mass,  was  prepared 
to  banish  music  from  the  churches 
altogether.  A  commission  of  eight 
Cardinals,  appointed  by  Pope  Pius  IV, 
first  undertook  to  ascertain  if  reforms 
were  possible,  and,  on  hearing  the 
Mass  of  Pope  Marcellus  (Missa  Papaj 
Marcelli),  concluded  it  to  be  the  model 
of  what  church  music  should  be,  a 
decision  afterwards  confirmed  by  papal 
brief.  Palestrina's  reward  was  a  grant 
of  the  full  pay  of  a  singer  in  the  Pon- 
tifical Choir,  a  stipend  continued  by 


Pius  V  and  the  six  pontifs  who  reigned 
after  him.  In  1571  Paleatrina  was  re- 
elected to  his  old  post  as  chapelmaster 
of  the  Vatican.  There  he  remained  for 
life,  for  though  Pope  Sixtus  V  wished 
to  appoint  him  maestro  of  the  Sistine 
Chapel,  the  singers  declined  to  serve 
under  a  layman.  His  activities  were 
not  confined  to  church  music,  although 
he  was  prolific  iii  the  composition  of 
motets  and  masses,  for  in  1555  he 
issued  a  volume  of  22  madrigals. 
Moreover  he  was  a  highly  successful 
teacher,  and  in  1576,  at  the  request  of 
Gregory  XIII,  undertook  the  laborious 
revision  of  the  church  music,  aided  by 
Guigetti,  which  was  published  in 
Rome,  1582,  as  "Directorium  Chori." 
He  had  enjoyed  the  friendship  and 
patronage  of  Cardinal  d'Este,  and  in 
later  life  that  of  Cardinal  Buoncom- 
pagni.  His  fame  had  extended  through- 
out Europe,  and  his  income,  if  not 
large,  was  sufficient.  His  happiness 
was  clouded,  however,  by  the  loss  of 
his  sons  and  pupils,  Angelo  and  Ri- 
dolfo,  and  the  death  of  hia  wife,  1580, 
while  the  remaining  son,  Igino,  proved 
a  thorn  in  his  fiesh.  The  sincerity  of 
his  grief  found  expression  in  the 
"  Super  flumina  Babylonia  "  and  other 
motets,  but  a  year  later  he  married  a 
wealthy  widow,  Virginia  Dormuli.  He 
then  made  29  settings  of  the  Songs  of 
Solomon,  dedicated  to  Pope  Gregory 
XIII,  regarded  as  his  finest  work  with 
the  exception  of  the  Mass  so  often 
referred  to.  These  were  published  in 
1584,  and  reprinted  more  frequently 
than  any  of  his  other  works.  The 
mass  entitled  "Assumpta  est  Maria 
in  Coelum,"  dedicated  to  Sixtus  V  to 
make  amends  for  some  pi6ces  de  cir- 
constance,  occasioned  the  trouble  with 
the  Sistine  Choir,  which  ended,  after 
the  Pope  had  disciplined  hia  singers, 
in  Palestrina  composing  three  new 
masses  for  that  organization.  From 
the  remaining  period  of  his  life  date 
the  Lamentations,  the  Hymnal  for 
every  day  in  the  year,  the  great  Stabat 
Mater,  and  30  5-part  Madrigali  spir- 
itual!. During  his  last  hours,  while 
suffering  from  pleurisy,  Palestrina 
gave  the  directions  for  publishing  his 
manuscripts  to  hia  son  Igino,  and  then 


PALESTBIITA 


473 


FALESTRINA 


received  the  sacraments  from  his  friend 
and  confessor,  St.  Philip  de  Neri.  B. 
about  1525;  d.  Feb.  2,  1594.  The 
principal  biographies  are  by  Baini, 
Eome,  1828;  A.  Bartolini,  Rome,  1870; 
Baumker,  1877 ;  Cametti,  Milan,  1895. 
A  complete  edition  of  his  works  is 
published  by  Breitkopf  &  Hartel.  The 
catalogue  includes:  Vol.  I,  24  5-part 
motets,  7  6-part  motets,  2  7-part  mo- 
tets ;  Vol.  II,  17  5-part  motets,  8  6-part 
motets,  4  8-part  motets;  Vol.  Ill,  18 
5-part  motets,  8  6-part  motets,  6  8-part 
motets ;  Vol.  IV,  50  S-part  motets, 
the  "Songs  of  Solomon";  Vol.  V,  28 
4-part  motets,  30  Commune  Sanctor- 
ium;  Vol.  Vl,  4  8-part  motets,  2  5-part 
motets,  8  6-part  motets,  28  8-part  mo- 
tets; Vol.  VII,  2  6-part  motets,  3 
8-part  motets,  3  12-part  motets,  7 
4-part  motets,  9  8-part  motets,  the  12- 
part  Stabat  Mater  Dolorosa,  9  8-part 
motets;  Vol.  VIII,  the  4-part  hymns: 
No.  1,  Conditor  alme  siderum;  2, 
Christe  Redemptor  omnium;  3,  A  solis 
ortu  cardine;  4,  Salvete  flores  mar- 
tyrum;  5,  Eostia  Herodes  impie;  6, 
Lucis  Creator  optime;  7,  O  lux  beata 
Trinitas;  8,  Ad  preees  nostras;  9, 
Vexilla  regis  prodeunt ;  10,  Ad  coenam 
Agni  providi;  11,  Jesu  nostra  re- 
demptio;  12,  Veni  creator  Spiritus; 
13,  Pange  lingua  gloriosi;  14,  Quod- 
cumque  vinclis;  15,  Doctor  egregie; 
16,  Ave  maris  stella;  17,  Vexilla  regis 
prodeunt;  18,  Ut  queant  axis;  19, 
Aurea  luce;  20,  Lauda  mater  eccle- 
siae;  21,  Petrus  beatus;  22,  Quicum; 
que  Christum  quaeritis;  23,  Tibi 
Christe,  splendor  patris;  24,  Christe 
Redemptor  omnium;  25,  Exultet  coe- 
Ivmi  laudibus;  26,  Tristes  erant  Apo- 
stoli;  27,  Deus  tuorum  Militum;  28, 
Deus  tuorum  Militum;  29»  Sanctorum 
meritis;  30,  Rex  gloriose  Martyrum; 
31,  Iste  confessor;  32,  Jesu  corona 
virginum;  33,  Jesu  corona  virginum; 
34,  Hujus  obtentu;  35,  Urbs  beata 
Jerusalem;  36,  Magne  pater  Augus- 
tine; 37,  Laudibus  summis;  38,  En, 
gratulemur  hodie;  39,  Proles  de  coelo 
prodiit;  40,  Decus  morum  dux;  41, 
Christe  qui  lux  es;  42,  Prima  lux 
surgens;  43,  Nunc  jurat  celsi;  44, 
Mensis  Augusti;  45,  Hynmus  canoris. 
Vol.  IX,  68  5-part  offertories;  Vol  X, 


the  masses :  No.  1,  Ecce  sacerdas  mag- 
nus,  4  voices;  2,  O  Regem  coeli,  4 
voices;    3,  Virtute  magna,  4  voices; 

4,  Gabriel  Archangelus,  4  voices;  5, 
Ad  coenam  agni,  5  voices;  6,  Fro 
Defunctis,  5  voices;  7,  Sine  nomine, 
6  voices.  Vol.  XI,  the  masses:  No.  1, 
De  Beata  Virgine,  4  voices;  2,  In- 
violata,   4   voices;     3,   Sine   nomine, 

4  voices;     4,   Ad   Fugam,   4   voices; 

5,  Aspice  Domine,  5  voices;  6,  Sal- 
vum  me  fao,  S' voices;  7  Papae  Mar- 
celli,  6  voices.  Vol.  XII,  the  masses: 
No.  1,  Spem  in  alium,  4  voices;  2, 
Primi  Toni  owero  lo  mi  son  gio- 
vinetta,  4  voices;  3,  Brevis,  4  voices; 
4,  De  Feria,  4  voices;  5,  L'homme 
arm6,  5  voices ;   6,  Repleatur  os  neum, 

5  voices;  7,  De  Beata  Virgine  vel 
Dominicalis,  6  voices;  8,  Ut,  re,  mi, 
fa,  sol,  la,  6  voices.  Vol.  XIII,  the 
4-part  mases:  No.  1,  Missa  prima 
(Lauda  Sion) ;  2,  Missa  secunda 
(Primi  Toni) ;  3,  Missa  tertia  (Jesu, 
nostra  redemptio)  ;  4,  Missa  quarta. 
5-part  Masses:  No.  5,  Missa  prima 
(Eripe  me  de  inimicis) ;  6,  Missa 
secunda;  7,  Missa  tertia  (0  magnum 
mysterium).  Vol.  XIV,  the  masses: 
No.  1,  Aeterna  Christi  munera,  4 
voices;  2,  Jam  Christus  astra  aa- 
cenderat,  4  voices;  3,  Panis  quern 
ego  dabo,  4  voices;    4,  Iste  confessor, 

4  voices;     5,   Nigra   sum,   5   voices; 

6,  Sicut  lilium  inter  spinas,  5  voices; 

7,  Nasce  la  gioia  mia,  6  voices.  Vol. 
XV,  the  masses:  No.  1,  Dies  santi- 
flcatus,  4  voices;  2,  In  te  Domine 
speravi,    4   voices;     3,    Sine   nomine, 

5  voices;  4,  Quam  pulchra  es,  4 
voices;  5,  Dilexi  quoniam,  5  voices; 
6,  Ave  Maria,  6  voices.  Vol.  XVI, 
the  masses:  No.  1,  Ave  Maria,  4 
voices;  2,  Sanctorum  meritis,  4 
voices;  3,  Emendemus,  4  voices;  4, 
Sacerdos  et  Pontifex,  5  voices;  5, 
Tu  es  pastor  ovium,  5  voices.  Vol. 
XVII,  the  masses:  No.  1,  Quern 
dicunt  homines,  4  voices;  2,  Dimi 
esset  summus  Pontifex,  4  voices;  3, 
O  admirabile  commercium,  5  voices; 
4,  Memor  esto,  5  voices;  5,  Dum 
complerentur,  6  voices;  6,  Sacerdotea 
Domini,  6  voices.  Vol.  XVIII,  the 
masses:  No.  1,  Ave  Regina  coelorum, 
4  voices;    2,  Veni  sponsa  Chriati,  4 


PALESTRIITA                 474  FALESTBINA 

voices;    3,  Vestiva  i  colli,  5  voices;  lamentations  for  four-,  five-,  six-,  and 

4,   Sine  nomine,   5   voices;     5,   In  te  eight-part  chorus.     The  same  lamen- 

Domine  speravi,  6  voices;   6,  Te  Deum  tations  for  three-,  four-,  five-,  and  six- 

laudamus,   6   voices.     Vol.   XIX,   the  part  chorus.     The  same  lamentations 

masses:     No.    1,    In   illo   tempore,   4  for  four-,  five-,  and  six-part  chorus, 

voices;    2,  Gift  fu  chi  m'hebbe  cara.  Vol.     XXVI,     litanies,    motets,    and 

4  voices;    3,  Petra  sancta,  5  voices;  psalms  to  the  number  of  17,  4  to  12 

4,  O  virgo  simul  et  mater,  5  voices;  voices.     Vol.  XXVII,  35  four-,  five-, 

5,  Quinti  Toni,  6  voices;  6,  lUumina  six-,  and  eight-part  magnificat,  3 
ooulos  meos,  6  voices.  Vol.  XX,  the  Books.  Vols.  XXVIII  and  XXIX, 
masses:  No.  1,  Descendit  Angelus  madrigals,  3,  4,  5,  and  6  voices.  Vol. 
Domini,    4   voices;     2;   Regina   coeli,  XXX,   supplement   consisting  of   col- 

5  voices;  3,  Quando  lieta  sperai,  5  lections  printed  in  the  16th  and  17th 
voices;  4,  Octavi  Toni,  6  voices;  5,  centi^ries  and  from  the  archives  of 
Alma  Redemptoris,  6  voices.  Vol.  the  Julian  and  Petrine  chapels  (Ex 
XXI,  the  masses:  No.  1,  Regina  coUectionibus  impressis  saeculi  XVI 
coeli,  4  voices;  2,  O  Rex  gloriae,  4  et  XVII)  :  I.  Cantiones  sacrae.  No. 
voices;  3,  Ascendo  ad  Patrem,  5  1,  Jesu,  Rex  admirabilis,  3  voices; 
voices;  4,  Qual  6  il  pit!  grand'  amor?  2,  Illumina  oculos  ( ?),  3  voices;  3, 
5  voices;    5,  Tu  es  Petrus,  6  voices;  Tua   Jesu   dilectio,    3   voices;     4,   In 

6,  Viri  Galilaei,  6  voices.  Vol.  XXII,  Domino  laetbitur  (?),  4  voices;  5, 
the  masses:  No.  1,  Laudate  Dominum  Jesu,  flos  matris,  4  voices;  6,  0  quam 
omnes  gentes,  8  voices;  2,  Hodie  suavia  est,  4  voices;  7,  Benedictus 
Christus  natus  est,  8  voices;  3,  Dominus  Deus,  4  voices;  8,  Miserere 
Fratres   ego   enim   accepi,    8    voices;  mei  Deus,  4  voices;    9,  Missa  Papae 

4,  Confitebor  tibi  Domine,  8  voices.  Marcelli,  4  voices;  10,  Missa  sine 
Vol.  XXIII,  the  masses:  No.  1,  In  titulo,  5  voices;  11,  Laudate  Do- 
ma  joribus  duplicibus,  4  voices  (Ine-  minum  in  Sanctis,  8  voices;  12,  Vos 
dita) ;  2,  In  minoribus  duplicibus,  amici  mei  estis,  8  voices.  II.  Can- 
4  voices  (inedita) ;  3,  Beatus  Laur-  tiones  profanae.  No.  1,  Amor,  se  pur 
entius,  5  voices  (inedita)  ;  4,  O  sei  Dio,  3  voices;  2,  Chiare,  fresche, 
sacrum  convivium,  5  voices  (inedita);  e  dolci  acque,  4  voices;    3  Da  fuoco 

5,  Assumpta  est  Maria,  6  voices;  6,  eosl  bel,  4  voices;  4,  Con  dolce,  al- 
Veni  Creator  Spiritus,  6  voices  (ine-  tiero  ed  amoroso  cenno,  4  voices;  5, 
dita).     Vol.  XXIV,  the  masses:    No.  Se    dai    soavi    accenti,    4   voices;     6, 

1,  Pater  noster,  4  voices    (inedita);  Voi  mi  poneste  in  foco,  4  voices;    7, 

2,  Panem  nostrum,  5  voices  (inedita) ;  Donna,  presao  al  cui  viao,  5  voices; 

3,  Salve  Regina,  5  voices    (inedita)  ;  8,    Non    fugia    suon    di    trombe,    5 

4,  Misaa  (aine  titulo),  6  voices  (ine-  voices;  9,  II  Caro  6  morto,  5  voices; 
dita);  5,  Tu  ea  Petrus,  6  voices  10,  Anima,  dove  aei,  5  voices;  11, 
(inedita) ;  6,  Ecce  ego  Joannes,  6  Quand',  ecco,  donna,  5  voices;  12, 
voices  (inedita).  Vol.  XXV,  the  Dunque  perfido  Amante,  5  voices, 
lamentations:  No.  1,  Incipit  Lamen-  Ex  Archivo  capellae  Juliae  ad  S. 
tatio  Jeremiae  Prophetae.  Aleph.,  4  Petrum:  No.  1,  Deus,  tuorum  mili- 
voices;  2,  Vau.  Et  egresaus  est  a  tum,  4  voices;  2,  Exultet  coelum 
filia  Sion,  4  voices;  3,  Jod.  Manum  laudibus',  4  and  5  voices;  3,  Gloria, 
suam  miait  hostis,  4  voices;  4,  De  laua  et  honor,  4  voices;  4,  Monstra 
Lamentatione  _  Jeremiae  Prophetae.  te  esse  matrem,  4  voices;  5,  0  Re- 
Heth.  Cogitavit,  4  voices;  5,  Lamed,  demptor,  4  voices;  6,  Pange  lingua, 
Matribus  suis  ■  dixerunt,  4  voicea;  6,  ,4  voices;  7,  Pueri  Hebraeorum,  4 
Aleph.  Ego  vir,  4  voices;  7,  De  Lam-  voices;  8,  Tantum  ergo,  4  voices;  9, 
entatione  Jeremiae  Prophetae.  Heth.  Veni  creator  Spiritus,  4  voices;  10, 
Misencordiae  Domini,  4  voices;  8,  Vexilla  Regis  prodeunt,  4  voices;  U, 
Aleph.  Quomodo  obscuratum  est  au-  Beata  es,  Virgo,  8  voices;  12,  Lau- 
rum,  4  voices;  9,  Incipit  Oratio  Jere-  date  Dominum  de  coelis,  8  voices; 
miae  Prophetae,  4  voicea.    The  same  13,  Regina  coeli,  4  and  8  voices;    14, 


PALESTBIXA 


475 


FAI.ESTBIXA 


O  gloriosa,  Domina,  4  and  12  voices. 
Vol.  XXXI,  second  supplement,  con- 
sisting of  collections  from  the  Pon- 
tifical chapel,  the  Vatican  library, 
and  the  archives  of  the  Cathedral  of 
St.  John  Lateran,  Ex  Archivo  ca- 
pellae  Pontiflciae:  No.  1,  Cum  de- 
scendisset  (?  op.  dub.),  4  voices;  2, 
De  lamentatione  Jeremiae  Prophetae, 
4  and  5  voices;  3,  Dum  complerentur 
dies  (!),  4  voices;  4,  Gloria  Patri, 
4  voices;     5,  Lamed,  Matribus   suis, 

4  voices;  6,  Libera  me  Domine,  4 
voices;    7,  Miserere  mei  Deus,  4  and 

5  voices;  8,  Miserere  mei  Deus,  4,  5, 
and  9  voices;  9,  Misit  rex  incredulus 
(?),  4  voices;  10,  O  Doctor  optime 
(?),  4  voices;  11,  Dexteram  meam 
(?),  5  voices;  12,  Laudate  coeli  (?), 
5  voices;  13,  Ne  reminiscaris  (?),  5 
voices;    14,  Per  lignum  (?),  5  voices; 

15,  Quern  dicun  homines  { ?),  5  voices; 

16,  Qui  manducat  (?),  5  voices;  17, 
Salvum  me  fac  (?),  5  voices;  18, 
Tu  es  pastor,  5  voices;  .  19,  Ecce 
sacerdos  magnus  (?),  6  voices;  20, 
Estote  fortes  in  bello,  6  voices;  21, 
Salvatorem  exspectamus,  6  voices. 
Ex  bibliotheca  Vaticana:  No.  1,  Im- 
mense coeli  conditor,  4  voices;  2, 
Telluris  ingens  conditor,  4  voices;  3, 
Coeli  Deus  sanctissime,  4  voices;  4, 
Magnae  Deus  potentiae,  4  voices;  5, 
Psalmator  hominis,  4  voices;  &-16, 
XI  Escercizi  sopra  la  scala;  17,  Bene- 
dictus  Dominus  Deus,  5  voices.  Ex 
Archivo  Basilicae  S.  Joannis  ad  La- 
teranum:  No.  1,  Audi  benigne  Con- 
ditor, 4  and  5  voices;  2,  Creator  alme 
siderum,  4  voices;  3,  De  lamentatione 
Jeremiae  Prophetae.  Heth.  Cogitavit, 
4  voices;  4,  Heth.  Pecatum  pecavit, 
4  voices;  5,  Gloria,  laus  et  honor,  4 
voices;  6,  Hodie  Christus  natus  est, 
4  voices ;  7,  Ingrediente  Domino  ( ? ) , 
4  voices;  8,  Libera  me  Domine,  4 
voices;  9,  O  bone  Jesu,  4  voices;  10, 
0  Redemptor,  sume  carmen,  4  voices; 
11,  Salve  Regina,  4  voices;  12,  Tristes 
erant  Apostoli  (?),  4  voices;  13, 
Ecce  nunc  benedicite  (4  and  5  voices) ; 

14,  Nunc  elimittis,  4   and  5  voices; 

15,  Miserere  mei  Deus,  5  voices;  16, 
Incipit  oratio  Jeremiae,  6  and  8 
voices ;  17,  Benedictus  Dominus  Deus, 
2  chorus,  4  voices;   18,  Populus  meus. 


8  voices.  Vol.  XXXII,  Third  Supple- 
ment from  the  archives  of  Sta.  Maria 
Maggiore,  the  library  of  the  Roman 
College,  and  other  sources.  Ex  Ar- 
chivo Basilicae  Liberianae  ad  S. 
Mariam  majorem:  No.  1,  Beata  es, 
Virgo  Maria,  6  voices;  2,  Missa  sine 
titulo,  6  voices.  Ex  Bibliotheca  olim 
Collegii  Romani:  No.  1,  Audi  be- 
nigne conditor,  4  voices;  2,  Te  lucis 
ante  terminum    (Hymnus),  4  voices; 

3,  In  manus  tuas  Domine,  4  voices; 

4,  Nunc  dimittis,  4  voices;  5,  Regina 
coeli  laetare,  4  voices;  6,  Venite,  ex- 
sultemus  Domino,  5  voices;  7,  Bene- 
dictus Dominus,  4,  5,  and  9  voices; 
8,  Miserere  mei  Deus,  12  voices  in  3 
chorus.  Ex  diversis  Bibliothecis  et 
Archivis:  No.  1-8,  VIII,  Ricercari 
( ? ) ,  4.  voices ;  9,  In  monte  oliveti 
(Resp.)  (?),  4  voices;  10,  Tristis 
est  anima  mea  (Resp.)  (?),  4  voices; 
11,  Ecce  vidimus  (Resp.)  (?),  4 
voices;  12,  Amicus  meus  (Resp.) 
(?),  4  voices;  13,  Judas  mercator 
(Resp.)  (?),  4  voices;  14,  Unus  ex 
discipulis  (Resp.)  (?),  4  voices;  15, 
Eram  quasi  agnus  (Resp.)  (?),  4 
voices;  16,  Una  hora  non  potuistis 
(Resp.)  (?)  4  voices;  17,  Seniores 
populi  (Resp.)  ( ?),  4  voices;  18  Om- 
nes  amici  mei  (Resp.)  (!),  4  voices; 
19,  Velum  templi  (Resp.)-  (?),  4 
voices;  20,  Vinea  mea  (Resp.)  (t), 
4  voices;  21,  Tanquam  ad  latronem 
(Resp.),  4  voices;  22,  Tenebrae  factae 
sunt  (Resp.)  (?),  4  voices;  23,  Ani- 
mam  meam  (Resp.)  (?),  4  voices; 
24,  Tradiderunt  me  (Resp)  (?),  4 
voices;  25,  Jesum  tradidit  (Resp.) 
(?),  4  voices;  26,  Caligaverunt 
(Resp.)  (?),  4  voices;  27,  Sicut  ovia 
(Resp.)  (?),  4  voices;  28,  Jerusalem 
surge  (Resp.)  (?),  4  voices;  29, 
Plange  quasi  virgo  (Resp.)  (?),  4 
voices;  30,  Recessit  pastor  noster 
(Resp.)  (?),  4  voices;  31,  O  vos 
omnes  (Reap.)  (?),  4  voices;  32, 
Ecce  quomodo  moritur  Justus  (Resp.) 
( ? ) ,  4  voices ;  33,  Astiterunt  reges 
(Resp.)    (?),  4  voices;    34,  Aestima- 

tus  sum  (Resp.)  (?),  4  voices;  35, 
Sepulto  Domino  (Resp.)  (?),  4 
voices;     36,  Et  erexit(?),  4  voices; 

37,  Asperges  me  (Ant.)   ( t),  4  voices; 

38,  0  bone  Jesu  ( !),  4  voices;    39,  O 


PALASTRINASTIL             476  PANORMO 

Domine,    Jesu     (?),    4    voices;   '40,  and    Florence.      B.    April    26,    1834, 

Thomas  unus  ex  duodecim,  4  voices ;  Sherburne,  N.  Y. ;  Dr.  Mua.,  University 

41,  Veni  sancte  Spiritus   (Sequ)  (?),  of  Chicago. 

4  and  6  voices;    42,  Lumen  ad  reve-  Falmula.     L.     Organ  manual, 

lationem     (Ant.    cum    Cant.      Nunc  Falotta    (Matteo)    wrote    on   Sol- 

dimittis )  ( 7 ) ,    4   and   5   voices ;     43,  misation  and  the  church  tones ;    be- 

Libera  me   ( Resp. )  ( ? ) ,  5  voices ;    44,  came    cotaposer   of   church  music  to 

Miserere    mei     (Ps.)  (?),  "Falsob,    5  Emperor  Charles   VI;    pupil  of  San 

voices;    45,  Miserere  mei    (Ps.)    ( ?),  Onofrio     Conservatory;     called     "II 

Falsob,  6  voices;    46,  Incipit  lamen-  Panormitano."      B.    Palermo,-  1689; 

tatio  Jeremiae  Prophetae.  Aleph.  ( ?),  d.  Mar.  28,  1758,  Vienna. 

8   voices;    47,  Vau.   Et  egressus   est  Fambe.     Small  Indian  drum'. 

(?),  8  voices;    48,  Jod.  Manum  suam  Faminger    (Leonhard)    published 

( Fragm. )  ( ? ) ,   8  voices ;    49,   Stabat  a  collection  of  Latin  motets  for  the 

Mater    (Sequ.),  4  and  8  voices;    50,  whole  church  year,  Nuremberg,  1567- 

Viotimae  paschali  laudes    (Sequ.),  4  80;    composed  German  hymns;    monk 

and  8  voices.     A  XXXIII  and  final  of  St.  Nicholas  Convent,  Paasau,  but 

volume  is  devoted  to  facsimiles,  docu-  joined    the    Lutherans.      B.    Aschau, 

ments,  papers,  and  index.  Bavaria,  Mar.  29,   1495;    d.  May  3, 

Falastrinastil.     Oer.    In  the  style  1567.                                                 / 

of  Palestrina.  Fandora.       Arabian     Tanbur     or 

Falettes.     Fr.    White  keys.  long-necked   lute. 

Fallavicini     (Carlo)     composed  Fandore.     Obsolete  English  instru- 

"  Messalina,"     1680,     Venice,     "  An-  'ment  of  the  lute  family,  which  had 

tiope,"   1689,   and  in  all   21   operas;  six  pairs  of  strings, 

court   chapelmaster   at   Dresden.      B.  Fane,    del    (Domenxco)    composed 

Brescia;    d.  Jan.  29,   1688,  Dresden,  masses,  motets;   edited  Abbatini's  An- 

Stefano    Benedetto    wrote    a    "  Dis-  tiphons,    1677;     sopranist  in  Vienna 

corso  della  Musica,"  libretti.    B.  Mar.  imperial  chapel;    choirmaster  of  the 

21,   1672,  Padua;    son  of  CARLO.  papal  chapel,  Rome,   1654;    pupil  of 

Fallavinci    (Vinceuzo)    composed  Abbatini.    B.  Rome ;   d.  after  1687. 

a  sinfonie  and   (with  Fischietti)   the  Fanny  (Joseph)  played  violin;  com- 

opera  "  Lo  speziale,"  to  book  by  Gol-  posed     for     violin,     chamber    music, 

doni,  Venice,   1755;    chapelmaster  at  masses,    a    requiem;    founded   music 

the     Conservatorio     deg*     Incurabili,  schools    in    Weisserling    and   Mainz; 

Venice.     B.  Brescia.  pupil    of    Von    Eybler.     B.   Oct.    23, 

Fallavicino  (Benedetto)  composed  1794,  Kohlmitzberg,  Austria;   d.  1838, 

madrigals  and  church  music;    chapel-  Mainz. 

master  to  the  Duke  of  Mantua  until  Fanofka   (Heinrich)   wrote   "The 

displaced  by  Monteverde,  later  Carnal-  Practical  Singing  Tutor,"  vocal  exer- 

dolese  monk.     B.  Cremona;   d-  about  cises;     founded    an     "Acadtoie    du 

1612.  chant"  in  Paris  with  Bordogni,  Paris, 

Fallet.    Spring  valve  of  an  organ's  1842;    pupil   of  Mayseder  and  Hoff- 

wind  chest.  mann,   Vienna.     B.   Breslau,   Oct.   2, 

Palmer  (Elizabeth  Annie)  wrote  1807;    d.  Nov.  18,  1887,  Florence. 

"Musical    Recollections,"    1904,   Lon-  Panormo     (Vincenzo     Trusaino) 

don;    sang  in  English  opera  and  con-  made  violins  in  London  and  Paris  on 

certs ;    pupil  of  the  Royal  Academy  the  large  Stradivarius  model.    B.  Nov. 

of  Music  and  of  Garcia.     B.  Aug.  9,  30,  1734,  Monreale,  near  Palermo;   d. 

1831,  London;  add.  Newcastle.  1813,  London.     George  Lewis  made 

Palmer   (Horatio  Richmond)  be-  guitars,  violins,  and  bows  in  London, 

came  dean  of  the  Chatauqua  School  B.  1774,  London;    son  of  VINCENZO 

of    Music,    1877;     taught,    conducted  TRUSAINO;    d.  1842.    Joseph  made 

choruses  in  Chicago;    published  man-  'cellos  and  violins  in  London.   B.  1773, 

uals   and   collections;     pupil   of   his  London;  brother  of  GEORGE  LEWIS; 

father  and  sister;    studied  in  Berlin  d.    1825.     Edward   Ferdinand  soar 


PAN   PIPES 


477- 


FABADISE 


ceeded  to  the  instrument  business  of 
his  father,  JOSEPH. 

Pan  Pipes,  so  called  because  their 
invention  was  attributed  to  the  Greek 
deity  of  that  name,  consist  of  from 
seven  to  nine  hollow  reeds,  cut  in  short, 
graduated  lengths,  and  fastened  to- 
.  gether  so  as  to  be  easily  blown  by  the 
mouth.  This  simple  instrument,  each 
pipe  of  which  sounds  the  note  of 
its  tube  and  the  odd  harmonics, 
was  the  Syrinx  of  the  Greeks,  the 
Fistula  of  the  Latins,  the  Ugab  of  the 
Hebrews,  and  the  forerunner  of  the 
organ. 

Panseron  (Auguste  Mathieu) 
taught  vocal  at  the  Paris  Conserva- 
toire, where  he  won  the  prix  de  Rome, 
1813;  composed  masses,  forgotten 
operas,  songs ;  wrote  instruction  books. 
B.  April  26,  1796,  Paris;  d.  July  29, 
1859,  Paris. 

Pantaleone.  Large  DULCIMER 
with  distinct  sets  of  metal  and  gut 
strings,  so  named  by  Louis  XIV  of 
France  in  honour  of  its  inventor,  Pan- 
taleon  Habenstreit. 

Fantalou.  Fr.  First  movement  of 
the  quadrille. 

Pantheon  was  the  name  of  a  large 
building  in  Oxford  street,  London,  used 
for  concerts,  operas,  and  balls,  1771  to 
1834. 

Pantomime.  Or.  "Imitation  of 
everything."  The  ballet  d'action,  a 
combination  of  dancing  and  gesticula- 
tion by  which  a  drama  may  be  repre- 
sented without  words,  although  accom- 
panied by  music,  is  the  highest  form 
of  pantomime.  The  history  of  this 
form  of  entertainment  is  lost  in  the 
dawn  of  Greek  and  Roman  civiliza- 
tions, and  it  was  common  also  among 
Oriental  peoples.  The  early  English 
pantomimes,  for  which  the  Arnes,  Dib- 
din,  Linley,  and  others  composed  mu-. 
sic,  have  entirely  disappeared,  and  the 
last  pantomime  to  be  received  with 
favour  in  America  and  Great  Britain 
was  "L'Enfant  Prodigue,"  by  Andrfi 
Wormser,  1891-92. 

Paolucci  (Giuseppe)  wrote  "Arte 
Practica  di  Contrappunto,"  etc.,  Venice, 
1765;  pupil  of  Padre  Martini  and, 
like  him,  a  member  of  the  Order  of 
St.   Francis;    choirmaster  at  Venice 


and  Assissi.    B.  Sienna,  May  25,  1726; 
d.  April  26,  1776. 

Pape  (Jean  Henri)  invented  many 
new  devices  for  pianos,  of  which  few 
stood  the  test  of  time;  made  a  trans- 
posing piano  and  instruments  of  novel 
outlines;  devised  a  new  method  of 
sawing  veneers;  made  instruments  in 
Paris  for  50  years,  having  learned  the 
trade  with  Pleyel,  chevalier  of  the 
Legion  of  Honor.  B.  Sarsted,  near 
Hanover,  July  1,  1789;  d.  Feb.  2,  1875, 
Paris. 

Papillons.  Pr.  "Butterflies." 
Title  given  by  Schumann  to  his  12 
piano  pieces,  Op.  2. 

Papini  (Guido)  taught  violin  at  the 
Dublin  Royal  Academy  of  Music,  where 
he  founded  a  series  of  classical  con- 
certs; composed  concertos  for  violin 
and  'cello,  songs,  chamber  music,  a 
Violin  School;  played  violin  at  the 
principal  Paris  and  London  concerts; 
pupil  of  Giorgetti.  B.  Oamagiore,  near 
Florence,  Aug.  1,  1847;   add.  London. 

Paque  (Guillaume)  played  'cello, 
pupil  of  De  Munck  at  the  Brussels 
Conservatory,  where  he  gained  first 
prize  at  15,  afterwards  becoming  court 
'cellist  in  Madrid,  and  soloist  at  the 
principal  London  concerts.  B:  July  24, 
1825,  Brussels;  d.  Mar.  2,  1876, 
London. 

Paradis.  The  highest  row  of  boxes 
in  a  French  theatre  is  so  called. 

Paradis,  von  (Itlarie  Therese) 
composed  "Ariadne  and  Bacchus," 
1791,  and  other  popular  dramatic 
works ;  played  piano,  visiting  the  prin- 
cipal music  centres  as  a  virtuosa, 
though  blind  from  childhood;  pupil 
of  Richter,  Kozeluch,  Salieri,  Abbe 
Vogler;  highly  esteemed  by  the  mu- 
sicians of  her  time.  Mozart's  con- 
certo (Kochel  456)  in  B  flat  was 
written  for  her.  B.  May  15,  1759, 
Vienna;  daughter  of  an  Imperial 
Councillor;    d.  Feb.  1,  1824. 

Paradise  and  the  Peri.  Robert 
Schumann's  cantata  to  his  own  adap- 
tation of  Moore's  poem  was  first  per- 
formed Dec.  2,  1843,  at  Leipsic.  There 
are  26  numbers,  scored  for  soli,  chorus, 
and  orchestra.  Sterndale  Bennett's 
Fantasia-Overture,  Op.  42,  was  first 
performed  at  the  Jubilee  concert  of 


FABADISI 


478 


FABIS 


the  London  Philharmonic  Society,  July 
14,  1862.  It  is  a  programme  piece. 
John  Francis  Barnett's  cantata  for 
Boli,  chorus,  orchestra,  and  organ  was 
first  performed  Aug.  31,  1870,  at  the 
Birmingham  Festival. 

Faradisi  or  Paradies  (Fietro  Do- 
menico)  composed  "  Alessandro  in 
Persia"  and  other  forgotten  operas, 
clavier  sonatas  admired  by  Cramer  and 
Clementi;  taught  Thomas  Linley  and 
others;  pupil  of  Porpora.  B.  1710, 
Naples;   d.  1792,  Venice. 

Parallel  Motion.  Progression  of 
two  or  more  parts  at  fixed  intervals, 
such  as  thirds  or  sixths. 

Paramese.  Fifth  string  of  the 
Greek  lyre. 

Paranete.  Seventh  string  of  the 
Greek  lyre. 

Paravicinl  (Signora)  played  violin 
so  well  that  Empress  Josephine  en- 
gaged her  to  teach  her  son  Eugene; 
losing  the  favour  of  the  court,  she  re- 
turned to  Italy  and  later  gave  concerts 
in  Lisbon,  and  with  great  success 
throughout  Germany;  pupil  of  Viotti. 
B.  1769,  Turin;  disappeared  at  Bo- 
logna, 1830. 

Pardon  de  Ploermel.  Original 
title  of  Meyerbeer's  "DINORAH." 

Farepa-Bosa  (Euphrosyne)  saag 
sop.  in  opera  with  great  success  in  such 
rSles  as  Arline,  Satanella,  Norma, 
Donna  Anna,  Elsa,  voice  extending  two 
and  a  half  octaves  up  to  d'".  Daugh- 
ter of  the  singer,  ELIZABETH  SE- 
GUIN,  and  her  husband,  D.  Parepa, 
Baron  de  Boyescu,  of  Wallachia,  she 
received  her  first  instructions  from  her 
mother,  and  made  her  debut  at  16  as 
Amina  in  Malta.  In  1867,  having 
achieved  an  excellent  name  in  both 
opera  and  concert,  she  visited  the 
United  States  under  the  management 
of  CARL  ROSA,  whom  she  married  in 
1867,  and  for  the  next  few  years  toured 
at  the  head  of  her  own  opera  company. 
B.  Edinburgh,  May  7,  1836;  d.  Jan.  21, 
1874,  London. 

Parhypate.  Second  string  of  the 
Greek  lyre. 

Paris  is  the  home  of  the  SUBSI- 
DIZED THEATRE,  under  which  head 
were  included  besides  the  houses  de- 
voted to  drama,  the  OPERA,  OPERA 


COMIQUE   and   Gaietg  Theatre,  the 
latter   devoted   to   lyric  drama   from 
1908.    It  is  likewise  the  home  of  the 
most  notable  teaching  institution  de- 
voted to    musical    art    in    the  whole 
world,  the  Paris  Conservatoire,  to 
use   the   popular   name   employed   in 
this  book  for  the  CONSERVATOIRE 
NATIONALE     DE     MUSIQUE     ET 
DECLAMATION.      As   most    of    the 
instrumental    musicians    and   singers 
were   educated   in   the   Conservatoire, 
it   is   natural   that  among  the  most 
important  musical  events  of  the  sea- 
son were  those  given  under  its  aus- 
pices,   a   special    organization  known 
as  the  Society  des  Concerts  du  Con- 
servatoire   being   in   charge.     These 
concerts    were     founded    by    HABE- 
NECK,    1828,    incidentally   to   secure 
the   performance  of    his  own  works, 
and  gave  programs  of  symphonic  pro- 
portions  which    grew   in   importance 
until   it  became   necessary  to  repeat 
the    same    program    on    consecutive 
Sundays   that   seats  might  be  found 
for  all  the  subscribers.    The  orchestra 
consisted  of  84  musicians  and  the  con- 
ductors   in    succession    to    Habeneck 
were  Gerard,  Tilmant  and  Deldevez. 
There  were  32  members  in  the  chorus 
and  the  standard  of  performances,  as 
well  as    the    selection    of  works  was 
uniformly  maintained  on  the  highest 
plane.      The     Concerts     Fopulaires, 
founded  in  1861  by  PASDELOUP,  were 
highly  important  in  introducing  new 
works   and   in   forming  public  taste, 
while  of  more  recent   date  were  the, 
concerts  bearing  the  names  of  their 
founders     LAMOUREUX     and     CO- 
LONNE.    It  should  be  observed,  how- 
ever,  that   despite   its   supremacy  in 
so  many  directions,  the  French  capi- 
tal,   like    the    American    metropolis, 
lacked  a  permanent  orchestra;    that 
is  to  say,  no  orchestral  body  required 
and    compensated    its   musicians    for 
their  full  time.    There  were  numerous 
organizations  such  as  the  old  Societe 
des    Quartuors    de    Beethoven   and 
the  more  recent  Societe  des  Instru- 
ments a  Vent  devoted  to  classic  and 
modern  chamber  music  and  the  OR- 
FEON  had  cultivated  the  art  of  part 
singing  to  a  high  degree  of  perfection. 


FABIS 


4Y9 


FABEEB 


Of  the  many  excellent  non-official 
music  BchooU  with  which  the  city 
abounded  the  most  important,  in  view 
of  the  recent  reforms  in  church  music 
inaugurated  by  Pope  Pius  X,  was 
the  Schola  Cantorum.  This  was 
founded  1896  by  CHARLES  BORDES, 
ALEXANDRE  GUILMANT,  and  VIN- 
CENT D'INDY  for  the  especial  study 
of  GREGORIAN  CHANT  and  the 
works  of  PALESTRINA  and  other 
masters  of  the  polyphonic  schools. 
Monthly  concerts  were  given  directed 
by  d'Indy,  at  which  the  works  of  the 
old  masters  were  admirably  per- 
formed; and  the  school  published 
"Les  Tablettes  de  la  Schola"  in 
which  to  record  its  own  progress,  and 
a  nmnber  of  ancient  and  modern 
compositions.  In  1908  there  were 
more  than  300  pupils  of  both  sexes, 
and  there  were  societies  for  the  sup- 
port of  the  institution  in  many  of  the 
provincial  cities.  There  were  scholar- 
ships and  a  scale  of  fees  to  the  stu- 
dents participating  in  concerts  by 
which  it  was  possible  for  many  to 
work  their  way  through.  Paris  had 
its  musical  beginnings  in  the  reign 
of  Louis  XIV,  who  established  the 
ACADEMIE  DE  MUSIQUE,  1669. 
The  next  moat  notable  of  Paris  musi- 
cal institutions  was  the  Concert 
Spiritual  founded  in  1825  by  Anne 
Danican  PHILIDOR.  Twenty-four  con- 
certs per  annum  were  given  on  those 
solemn  days  of  the  church  year  when 
the  opera  house  was  closed.  With 
greater  or  less  artistic  and  financial 
success,  these  concerts  were  continued 
until  the  beginning  of  the  French 
Revolution,  aflfording  not  only  instru- 
mental and  choral  music,  but  intro- 
ducing many  notable  foreign  musi- 
cians. But  while  neither  French  nor 
operatic  music  could  be  given  on  the 
terms  by  which  the  Opera  permitted 
these  concerts  to  exist,  they  were 
hardly  more  religious  in  character 
than  the  sacred  concerts  which  are  a 
feature  of  the  Puritanical  Sunday  in 
some  parts  of  America.  GOSSEC  was 
conductor  of  the  Concert  des  Ama- 
teurs founded  in  1770,  which  10 
years  later  became  the  Concert  de  la 
lege    Olympique,     where    Haydn's 


Symphonies  were  first  made  known 
to  France  and  for  which  he  composed 
six  symphonies.  The.  Concert  de  la 
Bue  de  Clery,  1789,  and  the  Concert 
Feydeau,  1794,  were  modelled  on 
Gossec's  enterprise,  and  in  1805  the 
Concerts  Spirituel  were  revived  for 
strictly  religious  music  at  the  Opfira 
during  Holy  Week. 

Parisian  Symphony  was  the  name 
given  W.  A.  Mozart's  work  in  D  (Ko- 
chel  297),  because  it  was  composed  in 
Paris  and  first  performed  June  18, 
1788,  at  the  Concert  Spirituel. 

Parisienne.  Casimir  Delavigne's 
cantata  celebrating  the  defeat  of 
Charles  X  by  the  Parisian  troops  was 
first  sung  Aug.  2,  1830,  at  the  Theatre 
Port  St.  Martin,  but  the  air  had 
been  previously'  used  in  his  "  Le 
Baron  de  Trenck."  Auber  said  that 
the  original  of  this  once  popular 
song  was  a  folk  song  dating  back  to 
1757. 

Farisina.  Gaetano  Donizetti's  three- 
act  opera,  to  book  by  Romani,  founded 
on  Byron's  poem,  was  first  performed 
Mar.  18,  1833,  at  the  Pergola  Theatre, 
Florence.  W.  Sterndale  Bennett's 
overture  in  F  sharp  minor.  Op.  3, 
was  first  performed  June  8,  1840,  by 
the  London  Philharmonic  Society. 

Parke  (John)  composed  oboe  con- 
certos; played  oboe  in  English  ora- 
torios and  concerts,  and  from  1783  was 
musician  to  the  Prince  of  Wales.  B. 
1745,  London;  d.  Aug.  2,  1829,  Lon- 
don. IKCaria  Hester  composed  piano 
sonatas,  songs,  glees;  sang  in  concerts 
and  festivals  from  1790  until  her  mar- 
riage to  Mr.  Beardmore,  1797.  B.  1775, 
London;  daughter  of  JOHN;  d.  Aug. 
15,  1822,  London.  William  Thomas 
composed  oboe  concertos,  overtures, 
songs,  glees;  wrote  "Musical  Me- 
moirs"; played  viola  and  oboe,  the 
latter  instrument  at  Covent  Garden 
and  Vauxhall.  B.  1762,  London; 
brother  of  JOHN;    d.  Aug.  26,  1847. 

Parker  (James  Cutler  Dunn)  com- 
posed the  oratorio  "  The  Life  of  Man," 
services;  played  organ  Trinity  Church, 
Boston,  1864-91;  taught;  wrote  on 
music.    B.  June  2,  1828,  Boston,  Mass. 

Parker  (Dr.  Horatio  William) 
composed  the  oratorio  "  Hora  Novis- 


FABEEB 


480 


PARRATT 


sima,"  the  "  Star  Song  "  cantata  which 
won  the  PADEREWSKI  prize,  1901; 
concerto  for  organ  with  orchestra  and 
harp,  1901;  succeeded  Bobbins  Bat- 
tell  as  professor  of  music,  Yale  Uni- 
versity, 1894;  played  organ.  Dr. 
Parker's  mother,  born  Isabella  G.  Jen- 
nings, was  his  first  teacher.  At  15  he 
composed  Kate  Greenaway's  "Under 
the  Window"  in  two  days,  and  then 
became  a  pupil  of  Emery,  Orth,  and 
Chadwick,  Boston.,  In  1881  he  entered 
upon  a  three  years'  course  of  study  at 
the  Munich  Hochschule,  organ  with 
Rheinberger.  Returning  to  America  he 
taught  and  played  organ  at  the  Garden 
City  (L.  I.)  Cathedral  and  school,  and 
for  a  while  was  instructor  in  counter- 
point at  the  NATIONAL  CONSERVA- 
TORY OF  MUSIC,  and  also  playing 
organ  at  churches  in  New  York  and 
Boston.  "  Hora  Novissima,"  performed 
at  English  festivals,  Worcester  and 
Hereford,  won  him  the  degree  Mus.  Dr. 
from  Cambridge,  and  he  was  made 
M.A.  by  Yale  University,  1894.  Other 
compositions  to  be  noted :  "  The  Shep- 
herd Boy,"  male  chorus.  Op.  1;  5 
part-songs  for  mixed  voices.  Op.  2; 
Psalm  xxiii,  female  chorus,  harp,  and 
organ,  Op.  3;  Concert  overture,  Op.  4; 
Overture  in  A  major,  Op.  5;  "Ballad 
of  a  Knight  and  His  Ifeiughter,"  Op. 
6;  Symphony  in  C  minor.  Op.  7; 
"  King  Trojan,"  soli,  chorus,  orchestra, 
and  harp,  Op.  8 ;  5  piano  pieces,  Op.  9 ; 

3  love  songs,  ten..  Op.  10;  String 
Quartet,  F  major.  Op.  11;  Venetian 
overture,  Op.  12 ;  Scherzo  in  G  for  or- 
chestra, Op.  13;  "Blow  Thou  Winter 
Wind,"  male  chorus.  Op.  14;  "Idylle," 
Op.  15;  "Ballad  of  the  Normans," 
male  chorus,  Op.  16;  4  organ  pieces. 
Op.  17;  Morning,  Evening,  and  Com- 
munion services  in  E  major,  Op.  18; 

4  pieces  for  piano.  Op.  19 ;  4  pieces  for 
organ.  Op.  20;  "The  Kobolds,"  chorus 
and  orchestra,  Op.  21 ;  3  sacred  songs, 
Op.  22;  6  piano  lyrics.  Op.  23;  6 
songs.  Op.  24;  2  love  songs.  Op.  25; 
"  Harold  Harfagar,"  chorus  and  or- 
chestra. Op.  26 ;  2  female  choruses.  Op. 
27;  4  organ  pieces.  Op.  28;  6  songs. 
Op.  29 ;  "  Dream  King  and  His  Love," 
cantata,  Op.  31;  5  pieces  for  organ. 
Op.   32;     6   male   choruses.   Op.    33; 


3  songs.  Op.  34 ;  suite  for  violin,  piano, 
and  'cello,  Op.  35;  4  organ  pieces,  Op. 
36;  "The  Holy  Child,"  Christmas  can- 
tata, Op.  37 ;  String  Quintet,  D  minor, 
Op.  38 ;  4  male  choruses,  Op.  39 ;  "  Ca- 
bal Mor  of  the  Wine  Red  Hand,"  bar. 
and  orchestra.  Op.  40 ;  suite  for  violin 
and  piano,  Op.  41 ;  Ode  for  Commence- 
ment, Op.  42 ;  "  Legend  of  St.  Christo- 
pher," oratorio.  Op.  43 ;  "  Adstant  An- 
gelorum  Chori,"  prize  motet  a  capella, 
New  York  Musical  Art  Society,  1899, 
Op.  45 ;  "  Northern  Ballad  "  for  orches- 
tra. Op.  46;  6  Old  English  songs,  Op. 
47;  male  choruses.  Op.  48;  3  piano 
pieces.  Op.  49 ;  "Wanderer's  Psalm,"  Op. 
50;  3  songs,  Op.  52;  "Hymnos  andron," 
Greek  Ode  for  Yale  bicentenary  cele- 
bration. Op.  53;  concerto  for  organ 
and  orchestra.  Op.  55;  symphonic 
poem  for  orchestra.  Op.  56;  Commun- 
ion service,  B  flat,  Op.  57 ;  3  Mediaeval 
Hymns  for  solo  voice.  Op.  58 ;  4  songs. 
Op.  59 ;  "  Union  and  Liberty,"  song  for 
the  Roosevelt  inauguration,  Op.  60; 
Ode  for  dedication  of  Albright  Art 
Gallery,  BuflFalo,  1905,  Op.  60.  B. 
Sept.  15,  1863,  Auburndale,  Mass.; 
add.  New  Haven,  Conn. 

Farlando.  It.  In  declamatory  or 
recitative  style. 

Farlante.  It.  "  Speaking."  Reci- 
tative style,  or  played  in  the  style  of 
declamation. 

Paroles.    Fr.    Words. 

Parrallelbewegung.  Oer.  PAR- 
ALLEL MOTION. 

Parrallelen.  Ger.  CONSECU- 
TIVES. 

Parratt  (Sir  Walter)  composed  the 
anthem  "  Life  and  Death  "  to  words  by 
Dean  Stanley,  incidental  music  for 
"  Agamemnon  ?'  and  "  The  Story  of 
Orestes";  edited  a  volume  of  Choral 
Songs,  including  one  of  his  own;  wrote 
on  music ;  played  organ  Magdalen  Col- 
lege, Oxford,  St.  Gfeorge's  Chapel, 
Windsor;  Past  Grand  Organist,  Eng- 
lish Free  Masons;  knight;  "Master 
of  Musick  "  to  Queen  Victoria ;  mem- 
ber of  the  Victorian  Order;  Mus.  Dr., 
Oxford ;  professor  of  organ  Royal  Col- 
lege of  Music,  and  choral  conductor; 
pupil  of  his  father,  who  was  organist 
of  Huddersfield.  B.  Feb.  10, 1841,  Hud- 
dersfleld,  Eng.;   add,  London, 


PARRY 


481 


fARSIS-AIi 


Parry   (Dr.    Sir   Charles   Hubert  Parry  (John)  published  collections 

Eastings,  Bart.)  became  director  of  of  English,   Scotch,  and  Welsh  airs, 

the  Royal  College  of  Music,  1894,  in  Lessons     for     Harpsichord,     Ancient 

succession  to  Sir  George  Grove;    pro-  Welsh  airs;    domestic  harper  to  Sir 

fessor  of  music  at  Oxford,  1900,  in  sue-  Watkin  W.  Wynne ;  though  blind,  said 

cession  to  Sir  John  Stainer;  was  made  to  have  won  Handel's  admiration  by 

a  baronet  at  the  coronation  of  Edward  his  skill.    B.  Ruabon,  Wales;    d.  Oct. 

VII,   1903,  having  distinguished  him-  7,  1782,  Ruabon. 

selfcascomposer,  writer,  conductor,  and  Parry  (John)  published  collections 
lecturer.  _  While  at  Eton  he  was  noted  of  Welsh  Songs,  helped  found  the 
among  his  schoolmates  for  his  singing,  Cambrian  Society;  wrote  "An  Ac- 
piano  playing,  and  songs,  and  took  the  count  of  the  Rise  and  Progress  of  the 
degree  Mus.  B.  at  Oxford,  1867,  three  Harp  "  and  criticisms  for  the  London 
years  before  taking  hia  B.A.  He  "Morning  Post";  composed  songs  and 
studied  with  Stemdale  Bennett,  G.  A.  dramatic  music  for  Vauxhall;  con- 
Macfarren,  and  with  H.  H.  Pierson  at  ducted  the  Eisteddfod,  by  which  he  was 
Stuttgart,  and  then  associated  himself  made  "  Bardd  Alaw " ;  played  and 
with  Edward  Dannreuther's  chamber  taught  flageolet.  B.  Feb.  18,  1776, 
concerts.  In  1880  his  "Scenes  from  Denbigh,  North  Wales;  d.  April  8, 
Prometheus  Unbound"  and  a  piano  1851.  John.  Orlando  composed  popu- 
concerto  in  F  sharp  minor  were  per-  lar  songs,  glees;  sang  in  musical 
formed,  the  former  at  the  Gloucester  plays;  played  harp  and  organ.  B. 
Festival,  the  latter  by  Dannreuther  at  Jan.  3,  1810,  London;  son  of  JOHN; 
the  Crystal  Palace,  winning  immediate  d.  Feb.  20,  1879,  East  Molesey. 
recognition  for  the  composer.  Shirley's  Parry  (Dr.  Joseph)  composed  "Em- 
ode,  "  The  Glories  of  our  Blood  and  manuel,"  "  Saul  of  Tarsus,"  "  Cam- 
State,"  which  he  composed  for  the  next  bria,"  and  other  oratorios,  the  operas 
Gloucester  Festival,  and  "The  Blest  "Blodwen,"  "Virginia,"  "King  Ar- 
Pair  of  Sirens,"  sung  by  the  Bach  thur,"  chamber  music;  taught  in 
Choir,  1887,  established  him  as  a  fa-  Welsh  colleges;  Ih-. Mus.,  Oxford;  in 
vourite  composer  for  choral  societies,  early  life  a  popular  singer  and  com- 
while  his  literary  talent  was  displayed  poser  in  America,  his  father,  an  iron- 
in  poems,  the  libretto  for  his  "Judith,"  worker,  having  immigrated;  pupil 
in  "Studies  of  the  Great  Composers,"  Royal  Academy  of  Music  at  the  ex- 
"  The  Art  of  Music,"  "  Summary  of  pense  of  a  fund  raised  by  Brinley 
Musical  History,"  etc.  Other  notable  Richards.  B.  May  21,  1841,  Tydvil, 
works:  "O  Lord  thou  hast  cast  us  Wales;  d.  Feb.  17,  1903,  Penarth. 
out,"  for  his  degree  at  Oxford ;  Inter-  Joseph  Haydn  (Composed  the  cantata 
mezzo  Religioso,  Gloucester  Festival,  "  Gwen,"  the  operettas  "  Cigarette," 
1868 ;  four  symphonies,  music  to  " The  "Miami";  taught  Guildhall  School 
Birds,"  "  The  Frogs,"  "Agamemnon,"  of  Music,  where  he  had  won  a  prize, 
and  "The  Clouds"  (Greek  plays),  the  1884,  with  a  piano  sonata;  son  and 
oratorios  "  Job,"  "  King  Saul,"  an-  pupil  of  DR.  JOSEPH.  B.  1864,  Penn- 
thems,  services,  several  collections  of  sylvania;  d.  Mar.  29,  1894,  London, 
songs,  chamber  music,  suites.  Pope's  Parsifal.  Richard  Wagner's 
ode,  "  St.  Cecilia's  Day,"  for  soli,  cho-  "  Bfihnenweihfestspiel "  or  consecra- 
rus,  and  orchestra;  "L' Allegro  ed  II  tional  stage  festival  play  was  first  per- 
Penseroso  "  (Milton),  "  Invocation  to  formed  July  28,  1882,  at  the  Festspiel- 
Music,"  to  words  by  Bridges,  soli,  cho-  haus,  Bayreuth.  It  was  the  composer's 
rus,  and  orchestra;  anthem  and  pro-  last  work,  and  differed  in  poetic  form 
eessional  for  the  coronation  of  Edward  from  the  plays  of  RING  DES  NIBE- 
VII,  "The  Love  that  Casteth  out  LUNGEN  in  having  rhymed  instead 
Fear,"  sop.  and  bar.  soli,  semi-chorus,  of  alliterative  verses,  although  music- 
chorus,  and  orchestra ;  overtures  "  To  ally  on  the  same  plan,  with  Leit 
an  Unwritten  Tragedy  "  and  "  Guillem  Motifs  ingeniously  recurring.  Like  his 
de  Cabestanh."  earlier  "  Lohengrin  "  it  was  based  upon 

31 


FABSIFAL 


483 


PARSIFAL 


legends  of  the  Holy  Grail,  "Lohen- 
grin "  being,  in  fact,  son  of  "  Parsifal." 
By  the  terms  of  Wagner's  will  the  per- 
formance of  this  work  was  restricted 
to  the  Festspielhaus  until  1913,  and 
until  1903  it  was  so  restricted.  T?here 
had  been  performances  of  the  work  by 
choral  organizations  with  orchestra  in 
London  and  New  York,  without  action 
or  costumes,  but  on  Dec.  24  of  the  year 
named  it  was  produced  at  the  Metro- 
politan Opera  House,  New  York,  under 
the  management  of  Heinrich  von  Con- 
ried,  the  occasion  being  his  annual 
benefit.  The  Wagner  family  had  bit- 
terly opposed  this  production  in  court 
and  through  the  press,  certain  Ameri- 
can clergymen  had  been  induced  to 
denounce  it  from  their  pulpits  as  sacri- 
legious in  its  treatment  of  the  Euchar- 
istic  sacrifice,  and  in  consequence  it 
was  the  best  advertised  production  ever 
made  in  America.  It  should  be  added 
that  it  was  one  of  the  most  careful. 
Scenery,  costumes,  and  the  cast  were 
the  best  that  could  be  assembled,  the 
rehearsals  were  supervised  by  Felix 
Mottl,  who  was  trained  in  the  tradi- 
tions of  the  work  at  Bayreuth,  but  who 
relinquished  the  baton  to  Alfred  Hertz 
at  the  performance,  to  escape  the  wrath 
of  Frau  Wagner;  and  the  stage  mech- 
anism was  constructed  by  Anton  Fuchs, 
stage  manager  of  the  Festspielhaus  it- 
self, as  well  as  of  the  Munich  Opera. 
The  capacity  of  the  house  was  sold  out, 
orchestra  chairs  disposed  of  at  $10 
each,  reaching  a  premium  of  $75  be- 
fore, the  performance.  A  very  excel- 
lent production  in  Snglish  was  then 
given  throughout  the  country  by  Henry 
W.  Savage,  but  the  American  interest 
in  "Parsifal "  soon  died  out,  and  it  had 
been  entireely  shelved  in  1907-8.  The 
vorspiel,  based  upon  the  Grail  motif 
already  familiar  from  "Lohengrin,"  a 
call  for  trumpets  and  trombones  iden- 
tified with  the  Knights  of  the  Grail, 
and  a  chorale  associated  with  the  Grail 
itself,  is  soon  concluded,  and  the  cur- 
tain discloses  a  forest  scene  within  the 
domain  of  the  Grail,  and  near  the 
Castle  of  Monsalvat.  Gurnemanz,  an 
ancient  knight,  awakens  two  young 
squires.  After  the  morning  prayers, 
a  procession  bearing  King  Amfortas  on 


a  litter  descends  from  the  Castle  that 
the  sovereign  may  find  comfort  in  his 
bath  from  a  grievous  wound.  In  a 
lengthy  monologue  Gurnemanz  tells  the 
squires  of  the  King^s  great  sin  and 
punishment.  Klingsor,  a  magician,  the 
enemy  of  the  Grail  and  those  whom  it 
protects,  has  built  a  wonderful  castle 
and  filled  it  with  lovely  women  who 
seduce  the  knights  from  their  duty  to 
the  Grail.  While  trying  to  overcome 
the  magician,  Amfortas  himself  fell 
victim  to  the  witchery  of  one  of  these 
women,  lost  the  sacred  spear  with 
which  Christ  had  been  pierced  while  on 
the  cross,  and  was  wounded  by  that 
weapon  in  the  hands  of  Klingsor. 
From  this  wound  there  can  be  no  re- 
covery so  long  as  the  spear  remains 
with  Klingsor.  A  voice  from  the  Grail 
has  declared  that  "a  guileless  fool, 
the  chosen  one,"  alone  could  elTect  a 
cure.  Kundry  enters,  bringing  balsam 
from  Arabia  to  assuage  Amfortas's 
pain.  Doomed  to  eternal  laughter  for 
having  jeered  at  Christ  upon  the  cross, 
Kundry  lives  a  twofold  existence.  As 
Kundry  she  is  the  faithful  servant  of 
the  Grail  and  its  knights,  hideous, 
clothed  in  rags.  But  at  Klingsor's 
summons  she  appears,  lovely,  seduc- 
tive, in  the  magic  castle,  and,  though 
the  knights  at  Monsalvat  do  not  know 
it,  it  was  Kundry  who  overcame  their 
king.  Then  a  dying  swan  sinks  to  the 
ground,  though  every  form  of  life  is 
sacred  in  the  Grail's  domain.  Parsi- 
fal is  dragged  in  by  two  knights,  who 
charge  him  with  murder.  To  the  ques- 
tions put  him  he  only  answers  "I  do 
not  know,"  but  Kundry  tells  of  his 
parentage,  that  he  was  reared  in  the 
desert,  and  that  "  Herzeleid  "  (Heart's 
affliction  " ) ,  his  mother,  is  dead.  At 
this  Parsifal  files  at  Kundry's  throat, 
but  as  she  sinks  to  the  ground  Gurne- 
manz drags  the  lad  away,  and  again 
reproaches  him  for  his  savage  nature. 
Then,  thinking  this  may  be  the  guile- 
less fool,  he  takes  him  to  the  Castle  of 
the  Grail,  where  the  solemn  feast  is 
about  to  be  celebrated.  The  Grail  is 
that  holy  vessel  from  which  Christ 
drank  at  the  Last  Supper,  and  in  which 
his  precious  blood  was  received  on  Cal- 
vary.   Enshrined  in  the  great  hall  of 


PARSIFAL                    483  PARTANT 

the  castle,  it  invests  with  supernatural  and  the  spell  of  spring  is  upon  the 
power  the  knights  assembled  for  its  fields.  Parsifal  enters,  clad  in  full 
protection  and  affords  them  sustenance  armour,  and  carrying  the  sacred  spear, 
as  well.  Facing  the  shrine  and  with-  which  is  immediately  recognized  by 
out  motion  or  word  Parsifal  sees  the  Gurnemanz,  who  hails  him  as  King  of 
pages,  squires,  and  knights  enter  in  the  Grail  Knights.  The  aged  Titurel, 
solemn  processional,  sees  the  Grail  un-  no  longer  nourished  by  the  Grail,  which 
veiled  upon  the  altar,  hears  the  old  Amfortas  refuses  to  again  unveil,  has 
King  Titurel  comforting  his  son,  but  died,  and  the  funeral  rites  are  about 
commanding  that  the  solemn  rite  pro-  to  begin.  Gurnemanz  and  Kundry 
ceed.  Amfortas,  moaning  with  pain,  wash  Parsifal's  feet,  cloth  him  in  the 
lifts  the  holy  vessel,  which  suddenly  white  robe  of  the  knights,  and  then, 
shines  blood  red  in  a  bar  of  light ;  then  pausing  only  long  enough  to  baptize 
an  unseen  chorus  chants  the  words:  Kundry,  Parsifal  permits  himself  to 
'•  Take  My  blood  in  the  name  of  our  be  led  to  the  shrine.  The  knights  de- 
love,  and  take  My  body  in  remembrance  mand  that  Amfortas  perform  the  office 
of  Me,"  the  ceremoniaJ  of  the  Commun-  upon  which  their  life  depends.  He 
ion  is  performed,  the  procession  files  begs  that  they  kill  him  instead.  Then 
slowly  out,  the  light  grows  dim,  and  Parsifal  touches  the  King's  wound  with 
Parsifal  is  alone.  Mystified  by  what  his  spear,  and  it  is  healed.  Parsifal 
he  has  seen,  Parsifal  makes  unintel-  proclaims  himself  King,  and  prepares 
ligible  replies  to  Gurnemanz's  ques-  to  perform  the  oblation.  As  he  does 
tions,  and  is  cast  forth  from  Mon-  so  the  Grail  is  again  illuminated,  a 
salvat.  The  next  act  reveals  the  magic  white  dove  descends  from  the  dome  of 
castle  of  Klingsor,  who  summons  Kun-  the  shrine  toward  Parsifal,  the  knights 
dry  that  she  may  aid  him  to  overcome  bend  in  homage,  and  Kundry,  at  last 
Parsifal.  Vainly  she  protests,  for  forgiven,  falls  dead.  Again  the  unseen 
Klingsor's  power  is  mighty.  As  Parsi-  choir  chants : 
fal  approaches  the  scene  suddenly  ..„.  ,  ,_  ,,  . 
shifts  to  the  garden,  filled  with  flowers,  SrJfp?&?E^*lllSr." 
and  with  maidens  dressed  as  flowers. 

Their  enticements  avail  nothing  against  The  original  cast  at  Bayreuth  con- 
the  "  pure  fool,"  but  Kundry,  now  a  sisted  of :  Kundry,  Materna,  sop. ;  Par- 
lovely  woman,  talks  to  him  of  his  sifal,  Winklemann,  ten.;  Gurnemanz, 
mother,  then  gives  him  a  passionate  Siehr.  In  the  New  York  production 
kiss.  Parsifal  is  suddenly  enlight-  the  cast  was:  Kundry,  Ternina;  Par- 
ened,  and  feels  Amfortas's  wound  burn-  sifal,  Burgstaller;  Gurnemanz,  Muehl- 
ing  in  his  heart.  He  spurns  Kundry,  mann;  Klingsor,  Blass;  Amfortas, 
who  calls  upon  Klingsor.     The  magi-  Van  Rooy. 

eian  appears,  armed  with  the. sacred  Parsons  (Robert)  composed  ser- 
spear,  which  he  thJ-ows  at'  Parsifal ;  Tiees,  anthems,  madrigals;  sang  Bng. 
it  remains  suspended  in  mid-air,  and  Chapel  Royal  from  1563.  B.  Exeter; 
Parsifal  grasps  it  and  makes  the  sign  drowned  in  the  Trent,  Jan.  25,  1570. 
of  the  cross.  Then  Klingsor,  the  John  became  organist  and  chorus- 
flowers,  the  flower  maidens,  and  the  master,  Westminster  Cathedral,  1616; 
castle  itself  are  replaced  by  a  desert  probably  son  of  ROBERT.  D.  1623. 
in  which  Parsifal  and  Kundry  are  Parsons  (Dr.  Sir  William)  became 
alone,  and,  as  Parsifal  departs,  she  master  of  the  king's  music  and  teacher 
calls  after  him  "  Thou  knowest  where  to  the  royal  family  of  England,  but  in 
only  thou  canst  see  me  again."  Some  later  life  a  police  magistrate  in  Lon- 
years  are  supposed  to  have  elapsed  don.  B.  1746,  London;  d.  July  19, 
when   the   curtain    rises   again,    once  1818. 

more  disclosing  the  precincts  of  the  Part.     Music  for  a  single  instru- 

Grail     Gurnemanz,  now  an  aged  man,  ment  or  voice  in  any  concerted  piece; 

lives 'as   a  hermit,   waited  upon  by  division  of  a  work. 

Kundry     It  is  Good  Friday  morning,  Partant  Pour  la  Syrie.    Music  to 


FABT    BOOK 


484 


PASSION 


this  song  was  composed  by  Queen 
Eortense,  sister  of  Napoleon  I,  to 
words  by  Count  A.  de  Laborde,  1809. 
Drouet  and  Carbonel  have  likewise 
been  accredited  with  the  melody,  and 
may  at  least  have  assisted  in  its  com- 
position. It  assumed  almost  the  im- 
portance of  a  national  air  in  the  reign 
of  Napoleon  III. 

Fart  Book.  Music  for  any  one  of 
several  voices  or  instruments  in  a  con- 
certed number.  In  the  Middle  Ages 
music  was  so  printed  that  when  laid 
open  upon  a  table  performers  at  either 
side  found  their  parts  before  them. 

Part  du  Diable.  Daniel  F.  E.  Au- 
ber's  comic  opera,  to  book  by  Scribe, 
was  first  performed  Jan.  16,  1843,  at 
the  Paris  Opgra  Comique. 

Parte.    /*.    PART. 

Partial  Tones.  Harmonics,  which 
ACOUSTICS  teaches  us  are  produced 
in  combination  with  nearly  every 
Prime  tone  or  ordinary  musical  sound, 
and  which  give  each  instrument  and 
voice  its  Timbre. 

Participant.  Modulations  of  Eccle- 
siastical Modes. 

Partie.    Fr.    PART. 

Partimenti.  It.  "Figured  bass  ex- 
ercises. 

Partition.     Fr.    SCORE. 

Partitur.     Ger.    SCORE. 

Partizione.    It.    SCORE. 

Part  Xusic.  Music  for  more  than 
one  voice  or  instrument. 

Part  Song.  One  harmonized  for 
two  or  more  voices  without  accom- 
paniment. 

Pas.    Fr.    Step,  dance. 

Pascal  Bruni.  John  L.  Hatton's 
three-act  romantic  opera  was  first  per- 
formed Mar.  2,  1844,  at  the  Vienna 
Kamthnerthor  Theatre. 

Pasdeloup  (Jules  Etlenne)  founded 
and  for  23  years,  from  1861,  conducted 
the  Paris  Concerts  Populaire;  made 
first  Paris  production  of  "  Rienzi " 
while  manager  Theatre  Lyrique;  be- 
came one  of  the  two  Orphfeon  con- 
ductors ;  founded  the  "  Societ6  des 
jeune  artistes  du  Conservatoire,"  1851, 
in  order  to  secure  performance  of  his 
own  orchestral  works ;  chevalier  of  the 
Legion  of  Honor,  and  beneficiary  of  a 
testimonial  concert  which  netted  $20,- 


000 ;  pupil  of  the  Paris  Conservatoire, 
where  he  won  first  piano  prize,  1834. 
B.  Sept.  15,  1819,  Paris;  d.  Aug.  13, 
1887,  Fontainebleu. 

Passmore  (H.  Bickford)  composed 
"  Miles  Standish,"  overture  for  orches- 
tra, masses,  "Conclave"  march;  played 
organ  San  Franqiseo  churches  and 
taught;  pupil  of  Morgan,  of  Jadas- 
sohn, Reinecke,  Shakespeare,  and  Cum- 
mings.  B.  June  27,  1857,  Jackson, 
Wis.;    add.  San  Francisco. 

Paspy.     PASSE-PIED. 

Pasquali  (Nlcolo)  composed  the 
oratorio  "  Noah,"  the  opera  "  L'ln- 
gratitudine  Punita,"  overtures,  violin 
sonatas,  songs ;  wrote  "  Thorough- 
bass made  Easy";  played  violin  in 
Edinburgh.     D.  Oct.  13,  1757. 

Pasquini  (Bernardo)  composed 
"  Dov'  e  amore  e  pieta "  and  in  all 
seven  operas,  five  oratorios,  harpsi- 
chord sonatas;  played  organ  Sta. 
Maria  Maggiore,  Rome,  where  he 
taught  Durante  and  Gasparini;  pupil 
of  Vittori  and  Cesti.  B.  Massa  di  Val- 
nevola.  Dee.  8,  1637;  d.  Nov.  22,  1710, 
Rome. 

Passacaglia  or  Passecaille.  Dance 
in  triple  time  resembling  the  CHA- 
CONNE  except  that  it  was  not  neces- 
sarily constructed  on  a  ground  bass. 

Passage.  Figure  or  phrase  of  mu- 
sic ;    run. 

Passage  Boards.  Boards  placed  in- 
side an  organ  case  on  which  the  tuner 
may  stand  while  at  work. 

Passaggio.  /*.  "PASSAGE"; 
Modulation ;  Cromatico,  Chromatic 
passage.  , 

Passamezzo.    Variety  of  PA  VAN. 

Passe-Pied.  Street  dance  which 
originated  probably  among  the  sailors 
of  lower  Brittany,  but  became  part  of 
the  ballet  and  thence  passed  to  the 
Suite.     It  resembled  a  quick  minuet. 

Passing  Modulation.  Transient 
MODULATION. 

Passing  Note.  One  forming  an 
unprepared  discord  in  an  unaccented 
^art  of  the  measure. 

Passion.  Oratorio  of  which  the  text 
is  selected  from  the  Gospel  narratives 
of  the  Passion  of  Christ.  The  first 
dramatic  representation'  of  the  Passion 
is  said  to  have  been  made  in  the  4th 


FASSIONE 


485 


PATEY 


century  by  St.  Gregory  Nazianzen, 
Bishop  of  Antioch.  It  was  sung ' 
throughout,  and  may  have  been  in 
imitation  of  the  earlier  Greek  trag- 
edies. From  the  13th  century  the 
Passion  was  chanted  to  Plain-Song 
melodies  by  the  clergymen  in  Ro- 
man Catholic  churches  during  Holy 
Week.  In  1585  Vittoria  composed  a 
polyphonic  setting  for  the  Pontifical 
Choir.  The  most  celebrated  of  later 
Passions  are  those  of  Johann  Sebastian 
Bach,  notably  his  "Passion  According 
to  St.  Matthew." 

Passione.  It.  Sacred  cantata  based 
on  incidents  of  the  Passion,  or  on  the 
Seven  Last  Words. 

Pasta  (Giuditta)  created  the  rSles 
of  Norma,  La  Sonnambula,  became  the 
favourite  singer  of  her  generation  not 
less  because  of  her  splendid  voice, 
which  ranged  from  a  to  d'"  than  for 
her  histrionic  ability  and  personal 
beauty ;  received  $40,000  for  the  season 
of  1840  in  St.  Petarsburg;  pupil  of  the 
Milan  Conservatory.  B.  Como,  near 
Milan,  1798;  maiden  name  Negri;  m. 
the  tenor  Pasta;  d.  April  1,  1865,  at 
her  villa,  Como. 

Pastete.     Ger.    PASTICCIO. 
Pasticcio.  It.  "  Pie."  Form  of  com- 
position of  which  the  old  ballad  operas 
and  modern  "  musical  comedies  "  are 
types.    The  music  is  often  the  work  of 
several  composers,  or  is  compiled  from 
melodies  already  popular. 
Pastiche.    Fr.    PASTICCIO. 
Pastoral.    Any  opera,  song  or  other 
composition  which  purports  to  repre- 
sent scenes  of  a  pastoral  nature;   any 
composition  in  rustic  style  and  in  2-8, 
9-8,   or    12-8   time,   with   or   without 
drone  bass. 

Pastoral  Symphony.  Ludwig  van 
Beethoven's  Sixth  Symphony,  in  F, 
Op.  68  (originally  known  as  No.  5),  is 
interesting,  aside  from  its  great  intrin- 
sic beauty,  as  the  most  famous  of  that 
master's  occasional  incursions  in  the 
realm  of  PROGRAMME  MUSIC.  The 
most  elaborate  indication  of  Beetho- 
ven's intentions  is  obtained  by  weav- 
ing together  his  notations  on  the  first 
violin  part  with  that  of  the  programme 
of  the  concert  at  which  the  symphony 
was  first  performed,  Dec.  22,  1808,  at 


the  Vienna  Theater  an  der  Wien: 
"  Pastoral  Symphony,  or  Recollections 
of  country  life.  (More  expression  of 
feeling  than  painting.)  1,  Allegro  ma 
non  molto.  The  pleasant  feelings 
aroused  in  the  heart  on  arriving  in 
the  country.  2,  Andante  con  moto. 
Scene  at  the  Brook.  3,  Allegro.  Jovial 
assemblage  of  country  folk,  interrupted 
by,  4,  Allegro.  Thunderstorm,  tempest, 
interrupted  by,  5,  Allegretto.  Pleas- 
urable feelings  after  the  storm,  mixed 
with  gratitude  to  God."  KNECHT 
had  employed  a  somewhat  similar  de- 
scription of  a  wholly  different  work 
20  years  before,  but  Beethoven's  note 
on  a  sketch  for  the  first  movement  that 
"  the  hearer  is  to  be  allowed  to  find 
out  the  situations  for  himself "  was 
wholly  ignored  by  commentators,  who 
have  added  as  many  words  to  Beetho- 
ven's own  "programme"  as  there  are 
notes  in  the  score.  The  absurdity  of 
such  literary  addenda  is,  however, 
quite  overshadowed  by  a  performance 
given  in  London  (Drury  Lane,  Jan. 
30,  1864),  in  which  the  symphony  was 
performed  as  a  dramatic  work,  with 
action  and  scenery. 

Pastorale.    It.    PASTORAL. 

Pastorale  Sonata.  Ludwig  van 
Beethoven's  "  Grande  Sonate  pour  le 
Pianoforte,"  in  D,  Op.  28,  was  prob- 
ably so  called  by  the  publisher  Cranz, 
but  without  the  composer's  advice  or 
consent. 

Pastorella.   It.  Short  PASTORAL. 

Pastorelle.  Fr.  Short  PASTORAL. 

Pastorita.     It.    Shepherd's  Pipe. 

Pastourelle.  Fr.  Movement  of  a 
quadrille. 

Paterson  (Robert)  founded  the  mu- 
sic publishing  house  of  Paterson  & 
Sons,  Edinburgh,  1814.  On  his  death, 
1859,  the  business  passed  to  his  son, 
Bobert  Boy.  B.  1830;  d.  Dec.  3, 
1903,  Edinburgh.  The  house  in  1908 
included  Bobert  E.  Sterling  Pater- 
son, son  of  ROBERT  ROY;  C.  H. 
Dobson,  nephew  of  ROBERT  ROY, 
and  Alexander,  John,  and  William 
Murray. 

Patetioa.    It.    Pathetic. 

Patetioamente.     /*.     Pathetically. 

Patey  (John  Oeorge)  sang  bass 
in   English   opera,  creating  rSles  in 


PATHi^TIQUE                  486  PAUMANIT 

"  Robin  Hood,"  "  Lily  of  Killarney,"  of  the  world  until  1895,  when  she  made 

in  oratorio,  and  in  American  and  Aus-  her  last  appearance  at  Covent  Garden, 

tralian  tours.     B.    1835,   Stonehouse,  London,    then   beginning   a   series   of 

Devonshire;  d.  Falmouth,  Dec.  4,  1901.  "farewell  concerts,"  which  were  not 

Janet  Monaoh  Whytock  sang  con.  in  concluded  in  1908.    B.  Feb.  10,  1843, 

oratorios  and  concerts,  debut  at  the  Madrid;    m.  Marquis  de  Caux,  1868; 

Worcester     Festival,     1866,     touring  divorced  him  and  m.  ERNEST  NICO- 

America,  1871,  Australia,  1880-81,  and  LINI,  1886,  and  after  his  death  Baron 

with  success  at  the  Paris   Conserva-  Cedarstrom,   1899;    add.  Craig-y-Nos.. 

toire  concerts;    pupil  of  Wass,  Mme.  Carlotta  sang  sop.  in  opera,  retired 

Sims-Reeves,  and  Finsuti.    B.  Londonj  after    1863   because   of  lameness,  but 

May   1,    1842;    m'.   JOHN   GEORGE,  appeared    with    success    in    concert; 

1866;   d.  Feb.  28,  1894.  taught  in  Paris.     B.  Florence,  1840; 

Fathetique.   Fr.   "Pathetic."  Lud-  sister     of     ADELE;     m.     Ernst    de 

wig  van  Beethoven  so  styled  his  grand  Munck,  1879 ;   d.  June  27,  1889,  Paris, 

sonata  in  C  minor,  No.  8,  Op.  13.    P.I.  Carlo    played    violin;     became    con- 

Tschaikowsky's   B    minor    Symphony,  duetor  New  Orleans  Opera  at  20,  then 

his  sixth  and  last,  was  so  named  at  at  New  York  and  St.  Louis.    B.  Mad- 

the  suggestion  of  his  brother.  rid,  1842;  brother  of  ADELE;  d.  Mar. 

Patimento.    /*.    "Suffering."  17,  1873. 

Faton    (Uary    Anne)    sang    sop.  Pauer     (Erqst)     edited     classical 

rSles  with  success  in  London  operas,  works   in   cheap    form   ranging   from 

famous  as  a  beauty,  created  Agathe  Bach  to  Schumann ;    wrote  "  Pianists 

in    the    Bng.    production    of    "  Frei-  Dictionary,"    1895,   and   other   useful 

schfitz,"    toured    America,    1834.      B.  primers;  gave  a  series  of  " historical " 

1802,   Edinburgh;     m.   Lord  William  piano  recitals  illustrating  the  evolu- 

Pitt   Lenox,   son  of   fourth   Duke   of  tion    of    that    instrument;    lectured, 

Richmond,    1824;    divorced  him;    m.  taught  Royal  Academy  of  Music  and 

the  ten.  Joseph  Wood,  1831;  d.  July  National    Training    School,    London; 

21,  1864.  Austrian  court  pianist;    chevalier  of 

Patrick  (Richard)  composed  a  ser-  the  Order  of  Franz  Josef  and  of  the 

vice   in   G  minor;     lay   vicar.   West-  Prussian    Order    of    the    Crown.     B. 

minster  Abbey,  1616-25.  Vienna,  Deo.  21,  1826;  d.  May  9,  1905. 

Patouille.    Fr.    XYLOPHONE.  'X.as.  composed  piano  pieces;  became 

Patti    (Adele   Juana   SCaria)   be-  chamber  virtuoso  to  the  Grand  Duke 

came  the  most  celebrated  of  modern  of  Hesse,  1895;    pupil  of  his  father, 

singers    of    coloratura,    possessing    a  ERNST,  and  of  Lachner.    B.  London, 

voice  which  ranged  up  to  i'",  excel-  Oct.  31,  1866;  add.  Stuttgart. 

ling   in   such   r61es   as   Rosina,   Vio-  Pauken.     Ger.    Kettle-DRXIMS. 

letta,    Zerlina,    eventually    acquiring  Paul  (Oscar)  wrote  on  harmony; 

about  30  leading  rdles.     Daughter  of  taught   at   Leipsic   Conservatory  and 

the   tenor,    Salvatore   Patti,   and   his  University,  in  both  of  which  institu- 

wife,  Caterina  Barilli-Chiesa,  she  came  tions  he  had  been  a  pupil.     B.  Frei- 

to  New  York  in  infancy,  her  father  waldau,    Silesia,    April    8,    1836;    d. 

having  undertaken  the  management  of  April  18,  1898,  Leipsic. 

an  Italian  operatic  venture.     Ettore  Pauline.     F.  H.  Cowen's  opera,  to 

Barilli,  a  step-brother,  was  her  first  book  by  Hersee  after  "The  Lady  of 

teacher,  and  she  sang  in  concert  under  Lyons,"  was  first  performed  by  the 

Max  Maretzek  at  seven,  and  then  at  Carl  Rosa  Opera  Company,  Nov.  22, 

concerts  given  by  her  brother-in-law,  1876,  at  the  Lyceum  Theatre,  London. 

Maurice  Strakosch.    After  touring  the  Paulus.    The  German  title  of  Felix 

West  Indies  with  Gottschalk,  she  made  Mendelssohn's  oratorio,  known  to  Eng- 

her  operatic  debut  in  New  York,  Nov.  lish-speaking  people  as  St.  Paul,  Op. 

24,   1859,  as  Lucia.     Her  Immediate  36.    The  first  performance  took  place, 

success  led  to  offers  from  European  1832,  at  the  Frankfort  Cecilenverein. 

opera  houses,  and  she  sang  in  all  parts  Paiunann   (Conrad)  composed  or- 


PATTR  '487  FEABODT 

gan  music  in  Tablature,  reprinted  by  prizes  of  the  Catch  Club;  pupil  of  W. 
Chrysander,  1867,  and  interesting  as  Savage.  B.  1735,  London;  d.  Aug.  18, 
among  the  eariiest  of  instrumental  1787.  William  composed  prize  canons, 
compositions;  played  organ  and  other  the  glee  "Blow  Soft  ye  Winds,"  'cello 
instruments  with  such  skill,  although  pieces ;  played  'cello.  B.  1737 ;  brother 
bom  blind,  as  to  win  knighthood  from  of  STEPHEN;  d.  1781. 
the  Pope  and  presents  from  Emperor  Payne  (Edward  John)  wrote  on 
Frederick  III  and  other  potentates;  musical  topics;  helped  revive  interest 
organist  to  Duke  Albrecht  III  at  Mu-  in  viol  da  gamba  and  viol  d'amore; 
nich.  B.  about  1410,  Nuremberg;  d.  became  first  president  the  London 
Jan.  24,  1473,  Munich.  Cremona    Society,    1889.      B.    1844; 

Paur  (Emil)  became  conductor  of  drowned  at  Wendover,  Deo.  24,  1904. 
the  PITTSBURGH  SYMPHONY  OR-  Peabody  Conservatory  of  Music 
CHESTRA,  1904,  and  in  1907  was  re-  was  founded  at  Baltimore,  Md.,  1868, 
elected  to  serve  until  1910,  having  pre-  as  part  of  the  Peabody  Institute,  with 
viously  conducted  at  the  Leipsic  Stadt  an  endowment  which  freed  the  man- 
Theatre,  1891,  the  Boston  Symphony  agement  from  financial  entanglements 
OrcTiestra,  1893,  the  New  York  Phil-  usually  so  detrimental .  to  art.  The 
harmonic  Society,  1898 ;  directed  the  first  year  there  were  606  pupils,  but  in 
National  Conservatory  of  Music,  1899 ;  1907-8  the  enrollment  had  grown  to 
conducted  Gterman  opera  at  the  Metro-  1182.  The  Conservatory  has  quarters 
politan  Opera  House,  and  Covent  Gar-  in  the  Peabody  Institute,  with  access 
den,  1900;  given  concerts  in  Berlin  to  its  large  library  and  art  gallery, 
and  Madrid,  1902-4.  Pupil  of  his  and  possesses  three_  auditoriums,  the 
father,  who  was  director  of  a  musical  largest  with  a  capacity  of  1100.  There 
society,  Paur  made  his  debut  as  vio-  are  nimierous  conceits  each  season, 
linist  and  pianist  at  eight,  then  studied  although  there  is  no  longer  need  of  or- 
under  Dessofif  and  Hellmesberger  at  chestral  concerts  such,  as  those  given 
the  Vienna  Conservatory,  and  in  1870  under  Asger  Hamerik's  direction,  which 
joined  the  court  orchestra  as  violinist,  were  highly  praised  by  von  Bfllow, 
In  1876  he  was  engaged  as  conductor  1876.  An  excellent  primary  depart- 
at  Cassel,  then  at  Koenigsberg,  and  in  ment,  presided  over  by  Miss  Mary  Har- 
1880  was  court  ohapebnaster  at  Mann-  rettson  Evans,  prepares  students  for 
heim.  He  composed  songs,  a  violin  entrance  to  the  conservatory  proper, 
concerto,  a  violin  sonata,  chamber  mu-  where  the  course  of  study  includes: 
sic,  etc.  B.  Aug.  29,  185S,  Czernowitz,  harmony,  composition,  piano,  sight 
Bukovina;   add.  Pittsburgh.  reading,  accompanying,  voice,   organ, 

Pausa.    It..    Fermata  or  pause.  violin,  'cello,  harp,  orchestral  instru- 

Pause.  Rest,  Demi-Pause,  half-  ments,  solfeggio,  ear  training,  acous- 
jggt_  tics,  history  of  music,  musical  appre- 

Pavan.  Stately  dance,  4-4  time,  elation,  pedagogy,  dramatic  expression, 
usually  in  three  parts,  each  of  which  English,  French,  German,  Italian, 
is  repeated.  The  name  was  once  There  are  a  number  of  free  scholar- 
thought  to  have  been  derived  from  ships.  Diplomas  and  teachers'  certi- 
"  pavo  "  peacock,  but  is  now  conceded  flcates  are  awarded  annually  after  ex- 
to  have  been  derived  from  Padua,  amination,  but  there  are  courses  open 
where  it  originated.  to  special  students  as  well.     In  1908 

Pavana.    /*.    PAVAN.  there  were  30  instructors  in  the  Pre- 

Pavane'    Pr.    PAVAN.  paratory  Department,  besides  the  fac- 

Paventato.  It.  Expressing  fear.  ulty  of  the  conservatory  proper,  con- 
PaviUon.  Fr.  Bell  of  £  horn;  sisting  of  HAROLD  RANDOLPH,  di- 
Chinois,  small  bells  attached  to  a  rector;  Otis  B.  Boise,  harmony  and 
staff-  Flute  a,  organ  stop  in  which  composition ;  HOWARD  BROCKWAY, 
the  pipes  are  surmounted  by  a  bell.  harmony  and  piano;  Alfred  C.  Good- 
Paxton  (Stephen)  composed  two  win,  piano;  W.  E.  Heimendahl,  voice; 
masses,  glees,  catches  which  won  the  J.   C.  van  Hulsteyn,  violin;    Ernest 


PEACE 


'488 


FESAL 


Hutcheson,  piano;  Pietro  Minetti, 
voice ;  Harold  D.  Phillips,  organ ;  Em- 
manuel Wad,  piano ;  Bart  Wirtz,  'cello ; 
associate  professors :  Clara  Ascherfeld, 
accompanying;  Blanche  Sylvana 
Blackman,  voice;  Charles  H.  Bo- 
chau,  fundamental  training;  John 
C.  Bohl,  flute  and  oboe;  Isabel 
L.  Dobbin,  piano  sight-reading; 
Minna  D.  Hill,  piano;  Rosine  Morris, 
piano;  Abram  Moses,  violin;  Adolph 
Renz,  clarinet;  Lena  Stiebler,  solfeg- 
gio and  ear-training;  Bertha  Thiele, 
harp;  Marion  B.  Boise,  German;  Olga 
Alfieri  Williams,  Italian;  Elise  Tour- 
nier,  French;  Joseph  S.  Ames,  Ph.D., 
Professor  of  Physics  at  Johns  Hopkins 
University,  Special  Lecturer  on  Acous- 
tics, etc.;  Annie  May  Keith,  secretary. 
Harold  RANDOLPH  has  been  the  di- 
rector since  1898. 

Peace  (Dr.  Albert  Lister)  com- 
posed the  cantata  "  St.  John  the  Bap- 
tist," anthems,  services,  organ  pieces. 
Psalm  cxxxviii;  played  organ  Glas- 
gow Cathedral,  1879,  St.  George's 
Hall,  Liverpool,  1897;  organist  at 
nine  of  Holmfirth  parish  church,  B. 
Huddersfield,  Jan.  26',  1844;  add. 
Liverpool. 

Fearce  (Tosepb.)  appeared  as  au- 
thor of  "Violins  and  Violin  Makers," 
London,  1866,  long  attributed  to 
Charles  Reade. 

Fearce  (Stephen  Austin)  com- 
posed an  oratorio,  three-act  opera, 
children's  opera,  overture,  church 
music ;  played  organ  London  churches ; 
taught  Peabody  Institute  and  Johns 
Hopkins,  Baltimore;  played  organ 
Collegiate  Church,  New  York;  Dr. 
Mus.,  Oxford;  pupil  J.  L.  Hopkins. 
B.  Nov.  7,  1836,  London;  d.  April  9, 
1900. 

Fearsall,  de  (Robert  Lucas)  com- 
posed 60  part-songs  and  madrigals, 
several  of  which  are  among  the  best 
modern  examples  of  polyphonic  style; 
Anglican  church  music,  as  well  as  a 
requiem,  Pange  lingua,  Tenebrae,  a 
graduale,  two  settings  of  the  Salve 
Regina  and  an  Ave  Venmi  for  the 
Roman  Catholic  church,  of  which  he 
eventually  became  a  member.  Of  an 
old  Worcestershire  family,  he  went 
abroad   for  his   health,   after   having 


been  admitted  to  the  bar,  studied  mu- 
sic under  Joseph  Panny  at  Mainz  for 
four  years,  returned  to  England,  1829, 
but  soon  settled  at  Carlsruhe.  His 
first  work  in  music  was  cantata  "  Saul 
and  the  Witch  of  Endor,"  composed 
at  13.  A  Miserere  mei,  Domine,  com- 
posed as  a  three-part  perpetual  canon, 
published  during  his  sojourn  at  Carls- 
ruhe, is  numbered,  however,  as  Op.  1. 
A  ballet  opera,  also  composed  there, 
was  never  performed.  His  madrigals 
were  inspired  by  hearing  performances 
of  the  Bristol  Madrigal  Society  while 
on  a  visit  to  England.  In  1837  he 
bought  Schloss  Wartensee  on  Lake 
Constance,  where  he  resided  during 
the  remainder  of  his  life.  B.  Mar.  14, 
1795,  Clifton,  Eng.;  d.  Aug.  5,  1856, 
Schloss  Wartensee. 

Fearson  CWilllam)  made  improve- 
ments in  musical  typography;  pub- 
lished music  in  London,  1699  to  1736. 

Feccate  (Dominique)  made  violins 
and  bows  with  Tourfe  and  Vuillaume, 
and  for  10  years  in  Paris  from  1837 
in  his  own  shop.  B.  July  15,  181,0, 
Mirecourt;    d.  Mireeourt. 

Fechatschek  (Frangois)  composed 
concerto  for  violin  and  orchestra, 
chamber  music;  played  violin;  led 
Hanover  court  orchestra;  directed 
music  at  court  of  Baden.  B.  July  4, 
1793,  Vienna;  d.  Sept.  15,  1840, 
Carlsruhe. 

Fgcheurs  de  Ferles.  Georges  Bi- 
zet's three-act  opera,  to  book  by  Cor- 
mon  and  Carrfi,  was  first  performed 
Sept.  29,  1863,  at  the  Paris  Theatre 
Lyrique. 

Feck  (James)  published  music  in 
London,  1800  to  1850,  when  he  was 
succeeded  by  John  Peck. 

Fedal.  Name  of  the  levers  in  pi- 
anos, organs,  and  harps,  so  called  be- 
cause worked  with  the  feet.  The  Pi- 
ano's Forte,  or  Loud  Pedal,  by  raising 
the  dampers,  enriches  the  tone,  per- 
mitting the  Partials  to  sound  from 
other  strings;  its  Piano  or  Soft 
Pedal  enables  the  performer  to  strike 
only  one  instead  of  two  or  three 
strings,  or  by  other  device  reduce  the 
volume  of  tone.  Harp  pedals  serve 
to  sharpen,  flatten,  or  neutralize  one 
note  throughout  the  compass  of  the 


PEDAL    BOABD 


489 


FELL^AS 


instrument.  Organ  Pedals  are  of  two 
kinds,  those  forming  part  of  the  pedal- 
clavier  by  which  the  performer  pro- 
duces notes  of  the  lower  register  in- 
dependently of  those  on  the  manual; 
or  combination  pedals,  by  which  the 
arrangement  of  the  registers  may  be 
altered.  The  abbreviation  commonly 
used  is  Ped. 

Pedal    Board.    Pedalclavier. 

Fedaldaviatur.  Ger.  Pedalclavier 
of  an  organ. 

Pedalclavier.  Keyboard  of  organs 
or  piano  or  harp  levers  operated  by 
the  feet. 

Pedal  Coupler.  Accessory  organ 
stop  which  permits  the  manual  keys  to 
be  depressed  from   the  pedalclavier. 

Pedale.  It.  Pedal  note;  PEDAL 
POINT;  piano  pedal  or  organ  pedal- 
clavier. 

Fedalfliigel.  Oer.  Piano  having 
pedal  attachments. 

Pedalier.  Pedalclavier  attached  to 
piano  for  playing  the  bass  strings. 

Pedaliera.    /*.    Organ  pedalclavier. 

Pedal  Note.    PEDAL  POINT. 

Pedal  Pipes.  Those  operated  from 
the  pedalclavier. 

Pedal  Point.  Point  d'orgue  or  Or- 
gan Point.  Notes  sustained  in  the 
pedal  or  other  base  while  other  parts 
move  independently.  The  note  or 
point  sustained  must  be  either  the 
Tonic  or  Dominant  of  the  Key.  When 
occurring  elsewhere  than  in  the  base 
pedal  point  is  called  inverted;  and 
it  may  be  either  "  figured,"  "  florid," 
double,  and  double  or  even  triple;  in 
the  latter  case  the  third  tone  being  the 
major  ninth  of  the  tonic. 

Pedal  Sound  Board.  ORGAN 
sound  board  containing  pipes  operated 
from  the  pedalclavier. 

Pedicula.    L.  OEOUPEZA. 

Pedrell  (Pelipe)  composed  the 
operas  "  El  ultimo  Abeneerrajo,"  Bar- 
celona, 1874;  "  Quasimodo,"  "tEl  Tasso 
a  Ferrara,"  "  Cleopatra,"  "  Mazeppa," 
the  triology  "Los  Pireneos,"  Barce- 
lona, 1902;  "Cele  stine,"  1904;  "Le 
Comte  d'Arnan,"  1905;  wrote  a  dic- 
tionary of  music,  books  on  folklore 
music,  etc.;  edited  the  valuable  "  His- 
paniae  Schola  Musica  Sacra,"  and  a 
periodical   devoted  to   church  music; 


became  member  of  the  Spanish  Acad- 
emy and  professor  of  History  and  .Es- 
thetics at  the  Madrid  Royal  Conserva- 
tory, 1894;  mainly  self-taught.  B. 
Feb.  19,  1841,  Tortosa,  Spain;  add. 
Madrid. 

Pedrotti  (Carlo)  composed  "Tutti 
in  Maschera,"  Verona,  1856,  and  in  all 
16  operas;  conducted  at  Amsterdam 
and  Verona;  pupil  of  D.  Foroni.  B. 
Nov.  12,  1817,  Verona;  drowned  him- 
self in  the  Adige,  Oct.  16,  1893. 

Peerson  or  Pierson  (Martin)  com- 
posed motets,  anthems,  part  songs ;  be- 
came Master  of  the  Children  at  St. 
Paul's,  London.  B.  about  1590;  d. 
about  1651,  London. 

Peg.  Tuning  pin  to  which  strings 
are  attached  in  such  instriiments  as 
the  viols  and  the  piano. 

Pektis.  Obsolete  Greek  instrument, 
probably  of  lute  or  dulcimer  family. 

Pelleas  et  Melisande,  Claude  De- 
bussy's five-act  opera  to  the  text  of 
Maeterlinck's  play  of  the  same  name, 
which  he  cut  until  Maeterlinck  said 
it  was  "  an  incomprehensible  ver- 
sion," was  first  performed  at  the 
Paris  Opfira  Oomique,  1902,  later 
performed  in  Brussels  and  Frankfort, 
and  on  Feb  19,  1908,  at  the  Manhat- 
tan Opera  House,  New  York.  Golaud, 
grandson  of  King  Arkel  of  "AUe- 
monde,"  while  wandering  in  a  forest, 
meets  Melisande,  who  wears  the  garb 
of  a  princess,  though  tattered  and 
torn.  Her  coronet  has  fallen  into  a 
well,  and  she  is  weeping,  but  she  will 
neither  let  him  recover  the  coronet, 
nor  tell  her  name  or  country.  Go- 
laud  takes  the  maiden  to  the  old 
castle  where  he  lives  with  Arkel  and 
his  mother,  Genevieve,  and  Yniold, 
his  little  son,  his  wife  being  dead. 
Six  months  are  supposed  to  have 
elapsed  when  the  curtain  rises  on  the 
next  scene.  Golaud  has  made  Meli- 
sande his  wife  and  has  taken  her  away, 
but  as  Arkel  had  planned  another 
union,  he  writes  to  his  half-brother, 
Pellgas,  to  obtain  Arkel's  forgiveness. 
Genevieve  reads  the  letter  to  Arkel, 
it  is  agreed  that  the  bridal  couple 
shall  be  received,  and  the  scene  shifts 
to  the  garden,  where  Pelleas  and 
Melisande    meet    for    the    first    time. 


FEIiLiAS 


490 


FEOLCHAU 


Act  II  discloses  Pell€as  and  M€lisande 
in  the  park.  M€lisande,  while  leaning 
over  the  well,  drops  her  wedding  ring. 
Golaud,  who  has  been  wounded  while 
hunting,  notices  the  absence  of  the 
ring  when  M€lisande  is  nursing  him, 
and  when  she  tells  him  she  has  lost 
it  in  a  cave  ^  by  the  sea,  tells  her  to 
get  it  at  once  before  the  rising  tide 
covers  it,  and  to  take  Pell€as  with 
her.  .  A  moonlight  scene  at  the  cave 
between  Pell€as  and  H€lisande  closes 
the  act.  The  third  act  reveals  M6li- 
sande  sitting  at  her  window  in  a 
tower  and  combing  her  long  hair, 
which  falls  from  the  window.  Pellgas 
is  kissing  this  hair  when  Golaud  sur- 
prises and  separates  them.  The  scene 
shifts  to  the  vaults  of  the  castle, 
where,  next  morning,  Golaud  takes 
PelUas,  causes  him  to  note  the  stag- 
nant water  and  the  smell  of  the  char- 
nel  house,  then  significantly  warns 
him  to  avoid  Mglisande.  In  the  next 
scene  it  is  night,  and  from  without 
the  castle  Golaud  holds  his  little  son, 
Yniold,  to  Melisande's  window.  The 
child  tells  him  that  Pellgas  is  there 
with  Mglisande.  The  fourth  act  opens 
in  a  room  in  the  castle.  Pell6as  and 
M^lisande  meet,  and  he  tells  her  that 
he  is  going  away,  as  he  often  has  said 
before.  A  moment  later  Mglisande 
and  Arkel  are  together,  and  the  old 
king  assures  her  of  his  sympathy  for 
her  in  such  dreary  surroundings, 
which  he  hopes  will  now  be  changed 
for  the  better.  Golaud  enters,  hurls 
invectives  at  his  wife,  then  remarks 
that  her  long  hair  is  good  for  some- 
thing, and  seizing  her  by  it,  throws 
her  to  her  knees  and  swings  her  to 
and  fro.  The  scene  shifts  to  the  ter- 
race where  Yniold  has  been  pla;ying. 
The  child  forgets  a  lost  toy  in  the 
interest  which  a  flock  of  sheep  awaken. 
Again  the  scene  changes.  Pell6as, 
who  has  been  meditating,  is  inter- 
rupted by  M€lisande.  He  continues 
to  tell  her  that  he  must  go  away,  but 
stops  suddenly,  kisses  her,  and  tells 
her  that  he  loves  her.  She  replies 
that  she  loves  him,  and,  although 
aware  that  Golaud  is  coming,  they 
embrace.  Then  Golaud  strikes  his 
brother  dead,  and  M€lisande  flies  in 


terror.  The  fifth  act  takes  place  in 
Melisande's  room  in  the  castle.  Go- 
laud and  a  physician  wateh  over  her 
and  the  physician  tells  Golaud  that 
"  she  will  surely  live."  As  Melisande 
regains  consciousness,  Golaud  is  left 
alone  with  her.  He  asks  if  she  loved 
Pellgas,  and  if  they  were  guilty.  She 
replies  that  she  loved  him,  but  that 
they  were  not  guilty,  and  Golaud  is 
tortured  with  doubt.  They  bring 
Mglisande  the  child  that  has  been 
born  in  her  delirium,  but  she  is  dead, 
and  Golaud  is  weeping  as  the  curtain 
descends.  Kecurrent  themes  which  he 
calls  "  sound  wraiths,"  to  the  number 
of  25,  are  noted  in  Lawrence  Gilman's 
book  on  the  opera,  but  the  composer 
>  declares  that  melody  is  "  almost  anti- 
lyric,  and  powerless  to  express  con- 
stant change  of  emotion  or  of  life," 
and  adds,  "  I  have  wished  to  dispense 
with  parasitic  musical  phrases."  The 
cast  of  the  Manhattan  Opera  House 
performance,  which  follows,  includes 
four  artists  who  took  part  in  the 
OpSra  Comique  version,  1902  : 
Melisande,  Miss  Mary  Garden;  Gene- 
vieve, Mme.  Gerville-Reache;  Little 
Yniold,  Miss  Sigrist;  Pellfias,  Jean 
Perier;  Golaud,  Hector  Dufranne; 
Arkel,  Vittorio  Arimondi;  The  Doc- 
tor, Mr.  Crabbg. 

Fenet  (Hilalre)  composed  motets 
and  a  four-part  mass  for  the  Papal 
Chapel,  to  which  he  was  appointed 
from  Poitiers,  1514. 

Fenillion.  Welsh  improvisation  of 
verses  or  music. 

Fenorcon.  Obsolete  nine-stringed 
guitar. 

Fentatone.  Interval  of  five  whole 
tones;   augmented  SIXTH. 

Fentatonic  Scale.  Obsolete  scale 
said  to  have  been  used  in  China 
1100  B.C.,  and  common  in  the  folk 
music  of  Celtic  races.  It  may  be  in- 
dicated by  the  notes  c,  d,  e,  g,  a'. 

Fentatonon.  Greek  name  of  the  in- 
terval now  known  as  the  Augmented 
SIXTH. 

_  Feolchau  (Georg)  collected  the  mu- 
sic composed  by  Frederick  the  Great; 
became  librarian  to  the  Berlin  Sing- 
akademie,  acquired  a  valuable  collec- 
tion of  music  since  purchased  by  the 


PEOPLE'S 


491 


FEBQETTI 


Berlin  Royal  Library.  B.  Cremon, 
Livonia,  July  5,  1773;'  d.  Aug.  12, 
1836,  Berlin. 

People's  Concert  Society  was 
founded  in  London,  1878,  as  a  means 
of  diffusing  a  love  of  music  among 
the  poor  of  the  East  End.  More  than 
1200  concerts  had  been  given  up  to 
1908,  at  which  the  best  classical  music 
could  be  heard  at  a  penny  a  ticket. 
Needless  to  say  the  concerts  were  sup- 
ported by  private  subscription. 

Pepusch.  (Dr.  John  Cliristoplier) 
arranged  the  music  and  composed  the 
overture  for  the  BEGGAK'S  OPERA, 
the  masque  of  "  Venus  and  Adonis," 
and  other  dramatic  pieces;  helped 
found  the  London  ACADEMY  OF 
ANCIENT  MUSIC;  taught  Boyee, 
Cooke,  Travers,  and  other  English 
musicians;  wrote  on  theory;  played 
organ  to  the  Duke  of  Chandos  and  at 
Charterhouse;  conducted  at  Lincoln's 
Inn  Fields  Theatre.  Son  of  a  Lutheran 
clergyman,  Pepusch  studied  theory 
under  Klingerberg  at  Stettin,  and  or- 
gan with  Grosse,  and  at  14  obtained  a 
court  appointment.  This  he  resigned 
on  seeing  an  officer  beheaded  without 
trial  by  his  master's  orders,  settled  in 
London  after  a  year's  sojourn  in  Hol- 
land, obtaining  employment  at  Drury 
Lane,  where  he  aided  in  staging  Italian 
operas.  He  composed  "Alexis,"  and 
in  all  12  cantatas  while  in  the  service 
of  Chandos,  and  an  ode  on  the  Peace 
of  Utrecht  for  his  Doctor's  degree, 
Oxford,  many  songs  and  much  chamber 
music.  B.  1667,  Berlin ;  m.  Margarita 
de  L'EPINE ;  d.  July  20, 1752,  London. 

Per.    /*.    By  or  for. 

Per abo  (Ernst)  played  piano,  Amer- 
ican debut  April  19,  1866,  with  the 
Harvard  Musical  Association;  com- 
posed a  scherzo,  studies,  etc.,  for 
piano,  setting  of  Hamlet's  "Soliloquy," 
Tennyson's  "  Circumstance,"  and  pre- 
lude, romance,  and  Toccatina,  made 
transcriptions  and  arrangements ; 
taught  music  in  Boston;  mastered 
the  Woltemperirtes  Clavier  at  12; 
pupil  of  the  Leipsic  Conservatory.  B. 
Nov.  14,  1845,  Wiesbaden;  accom- 
panied his  parents  to  America  in  boy- 
hood;   add.  Boston. 

FercuBSion.     The   actual   striking 


of  a  discord  after  it  has  been  prepared 
and  before  its  resolution;  mechanism 
by  which  the  tongue  of  a  reed  is  struck 
with  a  hammer  at  the  moment  air  is 
admitted  from  the  wind  chest,  thus 
insuring  immediate  "speaking." 

Peroussione.    It.    PERCUSSION. 

Percussion  Instruments  are  those 
from  which  tone  is  produced  by  strik- 
ing, such  as  the  Piano  or  Xylophone, 
but  more  especially  the  DRUM,  CYM- 
BALS, TRIANGLE,  etc. 

Percy  (John)  composed  "  Old  Wap- 
ping  Stairs  "  and  other  once  popular 
English  ballads.  B.  1749,  London;  d. 
Jan.  24,  1797. 

Ferdendo  or  Perdendosi.  It.  Dy- 
ing away  both  in  volume  of  tone  and 
in  speed. 

Perez  (Davide)  composed  operas 
"  Demofoonte,"  Lisbon,  1752,  which 
won  him  the  Order  of  Christ  and  ap- 
pointment as  royal  chapelmaster  at 
30,000  francs  per  annuin,  "  Alessandro 
nelle  Indie,"  the  oratorios  "  II  Mar- 
tirio  di  San  Bartolomeo,"  church  mu- 
sic ;  produced  his  opera  "  Bzio  "  with 
success  in  London,  1755;  pupil  of  the 
Naples  "Conservatorio  di  Sta.  Maria 
di  Loretto.  B.  1711,  Naples,  of  Span- 
ish parentage;    d.  1778,  Lisbon. 

Perez  (Juan  Qlnez)  composed  ex- 
cellent church  music,  some  of  which 
was  recently  reprinted  in  Pedrell's 
"Sehola  Musica  Sacra";  became  choir- 
master of  Orihuela  at  14,  later  a  royal 
chaplain  and  choirmaster  Valencia 
Cathedral.  B.  Oct.  17,  1548,  Orihuela, 
Mureia ;   d.  after  1601,  Valencia. 

Perfect.  Obsolete  term  for  Triple 
Time,  and  having  especial  meanings  as 
applied  to  CADENCE,  CHORD,  or 
INTERVAL. 

Perger,  von  (Bichard)  composed 
the  opera  "  Der  Richter  von  Grenada," 
Cologne,  1889,  a  violin  concerto,  vaude- 
ville, etc.;  conducted  and  directed 
Rotterdam  Conservatory,  1890-95, 
then  becoming  conductor  of  the  Vi- 
enna Gesellschaft  concerts;  pupil  of 
Brahms.  B.  Jan.  10,  1854,  Vienna; 
add.  Vienna. 

Pergetti  (Signer)  composed  the 
opera  "  Ciglio  ";  said  to  have  been  the 
last  castrato  to  sing  in  England,  where' 
he  appeared  at  a  concert  in  1844. 


PERGOLA 


493 


FEB! 


Pergola,  so  called  from  the  street 
on  which  it  is  located  in  Florence,  is 
among  the  most  famous  of  Italian 
opera  houses.  The  present  building, 
which  accommodates  2500  spectators, 
and  is  among  the  best  appointed  in  the 
world,  was  erected,  1738,  on  the  site  of 
the  earlier  structure  of  wood  where 
Dafne,  by  PERI  and  CACCINI,  was 
performed,  1594. 

Pergolesi  (Giovanni  Battista)  com- 
posed the  comic  opera  "  La  Serva  Pa- 
drone," Naples,  1733,  which  became 
popular  in  Paris  and  elsewhere;  a 
Stabat  Mater,  which  Bellini  described 
as  "a  divine  poem  of  grief";  is  still 
venerated  in  Italy  as  a  composer  whose 
death  at  26  deprived  the  world  of 
many  masterpieces.  Pupil  at  first  of 
Santoni,  a  musician  of  Jesi,  Pergolesi 
had  some  violin  lessons  from  P.  Mon- 
dini,  and  at  16  entered  the  Naples  Con- 
servatorio  dei  Poveri  di  Gesu  Cristo, 
where  he  studied  with  Greco,  Durante, 
and  possibly  with  Feo.  The  sacred 
drama  "  La  Conversione  di  San  Gu- 
gliemo  d'  Aquitania"  was  performed 
with  the  comic  intermezzo  "  II  Maestro 
di  Musica,"  1731,  by  his  fellow-stu- 
dents, at  the  monastery  of  St.  Agnello 
Maggiore,  and  so  favourably  received 
that  he  was  commissioned  to  compose 
the  opera  "La  Sallustia"  and  the  in- 
termezzo "Nerino  e  Nibbia"  or  "Amor 
fa  I'uomo  cieoo"  for  the  Naples  court 
theatre.  The  opera  was  a  success,  the 
comic  piece  a  failure,  and  his  next 
works,  the  opera  "  Eicimero  "  and  the 
intermezzo  "  II  Geloso  Schernito,"  like- 
wise fell  flat.  Pergolesi,  who  was  then 
under  the  patronage  of  Prince  Stigli- 
ano,  then  composed  36  sonatas  for  two 
violins  and  bass  and  a  mass  with 
double  choir  for  the  city  of  Naples, 
after  the  earthquake  of  1731.  The 
mass  greatly  extended  his  reputation, 
but  he  again  returned  to  dramatic 
work,  and  during  the  next  two  years 
produced  the  opera  "  II  Prigionier  Su- 
perbo  "  and  the  comic  opera  "  Lo  frate 
innamorato "  and  his  masterpiece  in 
comedy,  "  Serva  Padrona."  In  1734  he 
entered  the  service  of  the  Duke  of  Mad- 
daloni  and  visited  Rome  with  his'  pa- 
■  tron.  The  opera  "  Adriano  in  Siria," 
composed  at  this  time,  proved  a  fail- 


ure, but  he  again  succeeded  with  the 
intermezzo  "Livietto  e  Tracollo."  Tra- 
dition which  has  not  been  verified  as- 
signs him  the  place  of  chapelmaster 
at  the  Casa  Santa  of  Loretto'  at  this 
time,  but  it  is  certain  that  he  was 
deeply  interested  in  church  music,  al- 
though leading  a  dissolute  life,  and 
that  in  1753,  when  his  comic  opera 
"  II  Flaminio "  was  produced  at  Na- 
ples, he  was  organist  in  the  Chapel 
Royal.  In  1835  "  L'Olimpiade  »  was 
produced  under  the  composer's  own 
direction  in  Rome.  Although  subse- 
quently recognized  as  one  of  his  best 
works,  the  Roman  public  rejected  the 
work,  while  Duni's  "  Nerone "  was 
applauded.  A  year  later  he  died  of 
consumption.  His  church  works  in- 
clude, besides  those  aiready  named, 
three  masses,  five  settings  of  the  Salve 
Regina,  four  Misereres,  a  number  of 
psalms  and  motets,  and,  besides  a 
symphony,  harpsichord  lessons,  etc., 
he  was  accredited  with  12  cantatas. 
See  biographies  by  Blasis,  1818;  Vil- 
larosa,  1831 ;  Faustini-Fasini,  Ri- 
cordi,  1900.  B.  Jesi,  Ancona,  Jan.  3, 
1710;    d.  Mar.  17,  1736,  Pozzuoli. 

Peri  (Jacopo)  composed  the  opera 
"DAFNE,"  to  book  by  Rinnuceini, 
performed,  1597,  at  the  Palazzo  Corsi, 
Florence,  which  is  regarded  as  the 
first  serious  opera,  and  was  based 
upon  what  was  assTuned  to  be  the 
"  stile  rappresentativo  ''  of  .^schylus, 
Sophocles,  and  Euripides;  the  opera 
"  Euridice,"  also  to  book  by  Rinnuc- 
eini, for  the  marriage  of  Henry  IV  of 
France  to  Maria  de'  Medici,  1600.  Of 
noble  birth,  called  "  II  Zazzerino  "  he- 
cause  of  the  luxuriant  growth  of  his 
golden  hair.  Peri  studied  music  with 
Cristoforo  MalvezzS,  and  was  soon 
chapelmaster  to  the  Duke  Fernando 
of  Tuscany,  an  appointment  he  later 
held  under  Cosmo  II.  Married  to  an 
heiress  of  the  noble  house  of  Fortini, 
he  was  the  intimate  of  Giovanni 
Bardi,  Count  of  Vernio,  of  Rinnuc- 
eini, Strozzi,  Corsi,  and  of  Galileo 
Galilei,  who  became  his  son's  tutor. 
All  Italy  was  then  devoted  to  the 
study  of  Greek  art,  and  the  manner 
of  interpreting  the  old  Greek  trage- 
dies  was   doubtless   discussed  by  all 


PEBIELSIS 


493 


PEBSIANI 


the  gentlemen  named  at  their  reunions 
in  the  Bardi  Palace.  Galilei  and 
Corsi  were  first  to  attempt  cantatas 
in  the  new  monodic  style,  and  then 
Peri  is  supposed  to  have  undertaken 
"  Dafne "  at  the  suggestion  of  Corsi 
and  Rinnuccini.  Peri  himself  played 
Orfeo  at  the  first  performance,  which 
took  place  before  a  small  assemblage 
of  friends  at  Corsi's  house,  Corsi  him- 
self _  playing  harpsichord.  In  1601 
Peri  became  chapelmaster  to  the  Duke 
of  Ferrara,  and  is  no  longer  heard  of 
in  history,  save  as  the  author  of  a 
publication  for  one,  two,  and  three 
voices,  Florence,  1609.  Of  "Dafne" 
only  a  few  contributions  by  Cac- 
cini  survive,  but  "  Euridiee "  passed 
through  two  editions,  1602  and  1608, 
both  of  which  are  very  rare.  B.  Flor- 
ence, Aug.  20,  1561;    d.  about  1630. 

Ferielsis.  Comparatively  florid 
passage  sung  toward  the  end  of  a 
Plain-Song  melody,  to  which  it  serves 
the  purpose  of  a  cadenza. 

Perigourdiiie.  Country  dance  of 
Perigord  in  3-4  time,  generally  ac- 
companied by  song. 

Period.  Complete  musical  sen- 
tence. 

Periode.     Fr.    PERIOD. 

Periodenbau.  Ger.  Construction 
of  a  period. 

Periodo.     /*.     PERIOD. 

Perle.  Fr.  "Pearl,"  as  Cadence, 
brilliant  cadence. 

Perle  du  Bresil.  Felicien  David's 
three-act  opera,  to  book  by  St. 
Etienne,  was  first  performed  Nov.  22, 
1851,  at  the  Paris  Theatre  Lyrique. 

Perne  (Frangois  Louis)  wrote  au- 
thoritatively on  Greek  Music  and  no- 
tation and  music  of  the  Middle  Ages; 
composed  a  mass  for  St.  Cecilia's  Day 
and  a  triple  fugue  which  might  be 
sung  backwards  on  reversing  the  page, 
a  Vivat  Rex,  a  Veni  Creator  for  three 
voices;  taught  harmony  at  the  Paris 
Conservatoire  in  succession  to  Catel, 
later  became  inspector  general  and  li- 
brarian; in  early  life  chorus  singer, 
then  doublebass  player  at  the  Op6ra,; 
pupil  of  a  Maltrise.  B.  1772,  Paris; 
d.  May  26,  1832,  Paris. 

Perpetual  Canon.  One  so  con- 
structed that  it  may  be  repeated  per- 


petually without  break  in  time  or 
fhythm. 

Perpetuus!  IVIobile.  L.  "Perpetual 
Motion."  Piece  played  with  great  rap- 
idity and  without  pause  until  the  end. 

Per  Becte  et  Ketro.  Imitation  in 
which  at  the  unison  the  antecedent  is 
repeated,  reading  the  notes  backwards. 

Perrin  (^niile  Cesar  Victor)  served 
as  manager,  Op€ra  Comique,  1848-57 
and  Theatre  Lyrique,  1854-55;  Grand 
Opgra,  1860-70;  then  of  the  Theatre 
Frangaise.  B.  Jan.  19,  1814,  Rouen; 
d.  Oct.  8,  1885,  Paris. 

Perrin  (Pierre)  managed  the 
ACADEMIE  DE  MUSIQUE,  1669 
until  1672,  when  Louis  XIV  trans- 
ferred the  patent  to  LULLI.  It  is 
probable  that  the  plan  of  the  Acadgmie 
originated  with  Perrin,  who  was  a 
dissolute  character,  bad  poet,  and 
hanger-on  of  the  court,  though  at  one 
time  a  protggg  of  the  Duke  of  Orleans. 
He  was  known  as  an  Abb6,  though  he 
neither  held  a  benefice  nor  took  orders. 
B.  1616,  Lyons;  d.  April  25,  1675, 
Paris. 

Perry  (Edward  Baxter)  was  one 
of  the  first  to  give  lecture  recitals  in 
America,  where  he  played  at  1200  con- 
certs in  10  years,  though  blind;  com- 
posed "Loreley,"  "The  Lost  Island," 
and  other  piano  pieces;  played  piano, 
pupil  of  J.  W.  Hill,  Boston,  later  of 
Hullah,  Clara  Schumann,  Pruckner, 
and  Liszt.  B.  Feb.  17,  1855,  Haverhill, 
Mass.;  add.  Boston. 

Perry  (George  Prederick)  composed 
the  oratorios  "The  Death  of  Abel," 
"Elijah  and  the  Priests  of  Baal," 
"The  Fall  of  Jerusalem,"  "Belshaz- 
zar's  Feast,"  the  opera  "Morning, 
Noon,  and  Night";  played  organ;  di- 
rected music  at  the  London  Haymarket 
Theatre;  conducted  concerts  of  the 
Sacred  Harmonic  Society.  B.  1793, 
Norwich;    d.  Mar.  4,  1862,  London. 

Persiani  (Fanny)  sang  sop.  in 
opera  withi  distinction,  debut  at  Leg- 
horn, 1832,  soon  becoming  a  favourite 
in  Naples,  Paris,  and  London.  "Lucia," 
which  Donizetti  composed  for  her,  was 
her  favourite  r6le,  but  she  was  heard  in 
"  Gazza  Ladra,"  "  L'Blisire  d'Amore," 
"Purltani,"  "Don  Giovanni,"  etc. 
Daughter  of  Nicolo  Tacchinardi,  who 


PERSriS  494  PETRTJCCI 

was  her  teacher,  she  married  Giuseppe  Conservatoire,  inspector  of  singing, 
Persiani,  a  composer,  who  may  have  Paris  public  schools;  pupil  of  the 
aided  in  perfecting  her  technique.  B.  Paris  Conservatoire,  where  he  won  the 
Oct.  4,  1812,  Rome;  d.  May  3,  1867,  prix  de  Rome,  1866,  with  his  cantata 
Passy.  "Dalila."     B.  May  29,   1843,  Paris; 

Persuis,  de  (Louis  Luc  Loiseau),  add.  Paris, 
conducted  at  Napoleon's  .  court  con-  Peter,  St.  Sir  Julius  Benedict's 
certs,  and  from  1810  at  the  Acad-  oratorio,  to  book  by  Chorley,  was  first 
ecaie,  then  became  inspector  general  performed  Sept.  2,  1870,  at  the  Bir- 
of  music,  and  from  1817  to  1819,  con-  mingham  Festival. 
ductor  of  the  Opfira;  composed  "  Jeru-  ,  Peters  (Carl  Priedrich)  began  the 
salem  delivrfie  "  and  other  operas,  "  Le  issue  of  "  Edition  Peters,"  Leipsic, 
Carnaval  de  Venise "  and  other  bal-  1814,  when  he  bought  Kuhnel  and 
lets ;  chevalier  of  the  Legion  of  Honor  HoflFmeister's  "  Bureau  de  Musique," 
and  of  the  Order  of  St.  Michael ;  pu-  publishing  classical  music  in  clear  cor- 
pil  of  his  father,  who  was  attached  to  rect  print  at  popular  prices.  Dr. 
the  Metz  Cathedral.  B.  July  4,  1769,  Max  Abraham,  who  became  proprietor, 
Metz;   d.  Dec.  20,  1819,  Paris.  1863,  founded  the  Leipsic  "  Bibliothek 

Perti  (Oiacomo  Antonio)  com-  Peters,"  1893,  a  free  musical  library 
posed  "  Atide,"  1679;  "Oreste,"  1681;  now  belonging  to  the  municipality  by 
"  Laodicea  e  Berenice,"  1695,  and  other  bequest  of  Dr.  Abraham,  who  died, 
operas;     four    Passions,    "Abramo,"    1900. 

and  eight  other  oratories;  chapel-  Petit  IBIeBure  k  Deux  Temps.  Fr. 
master  at  Bologna,  of  San  Petronio    2-4  time. 

from  1696;    friend  of  Padre  Martini       Petite  Piute.     Piccolo  FLUTE, 
and   Pope    Benedict   XIV;     pupil    of       Petreius  (Johann)  published  music 
Father  Lorenzo  Perti,  S.  J.,  later  of   in  Nuremberg,   1536-44.     B.  Langen- 
Father    Petronio     Franceschini.       B.   dorf,    Fraconia;     d.    Mar.    18,    1550, 
June  6,  1661,  Bologna;    d.  April  10,   Nuremberg. 
1756,  Bologna.  Petrella  (Enrico)  composed  "Marco 

Pesante.  /*.  "Heavy."  Indicates  Visconti,"  La  Scala,  Milan,  1854; 
that  a  passage  is  to  be  played  with  "lone,"  1858;  "I  promesai  sposi," 
weight  and  impressiveness.  1869;   "Giovanni  II  di  NapoH,"  1869; 

Pescetti  (Giovanni  Battista)  com-  "  Blanca  Orsini,"  Naples,  1870;  and 
posed  the  operas  "Dorinda,"  1729;  other  operas  once  popular  in  Italy; 
"  Diana  and  Endymion,"  London,  1838,  pupil  of  Bellini,  Ruggi,  and  Zingar- 
and  other  operas,  the  oratorio  "  Gion-  elli  at  the  Naples  Conservatory.  B. 
ata,"  church  music,  harpsichord  son-  Deo.  1,  1813,  Palermo;  d.  April  7, 
atas;  pupil  of  Lotti.  B.  1704,  Venice ;  1877,  Genoa, 
d.  about  1766.  Petri  (Henri  Wilhelm)  composed 

Peschka  (Hinna  Leutner)  sang  violin  solos  and  songs;  organized  an 
sop.  in  English  and  American  music  excellent  string  quartet;  served  as 
festivals,  1872-83,  debut  in  opera  as  concertmeister  at  the  Gewandhaus, 
Agathe,Breslau,  1856;  pupil  of  Prosch  Leipsic,  and  to  the  Dresden  Chapel 
and  Mme.  Buckholtz  Falconi.  B.  Royal;  pupil  of  Joachim.  B.  Zeyst, 
Vienna,  Oct.  25,  1839;  d.  Jan.  12,  near  Utrecht,  April  5,  1856;  add. 
1890,   Wiesbaden.  Dresden. 

Pessard  (Emile  Louis  Fortune)  Petrie  (George)  made  a  collection 
composed  "  Le  Capitaine  Fracasse,"  of  1582  Irish  folksongs,  published  by 
Paris  Theatre  Lyrique,  1878;  "Tab-  Boosey  on  behalf  of  the  Irish  Liter- 
arin,"  Paris  Grand  Op6ra,  1885;  "La  ary  Society  and  edited  by  Sir  C.  V. 
Dame  de  Trefle,"  Bouffes,  1898,  and  Stanford;  provided  Tom  Moore  with 
other  dramatic  works,  songs,  church  some  Irish  melodies.  B.  1789,  Dub- 
and  chamber  music;  music  director  lin;  d.  Jan.  17,  1866,  Dublin. 
St.  Denis  Institution  of  the  Legion  of  Petrucci,  dei  (Ottaviano)  invented 
Honor;    professor  of  Harmony,  Paris   the  art  of  printing  music  from  mov 


FETTIT  495  PHILADELPHIA 

able  types,  although  he  used  a  double  et  Cie,  Paris.     B.  Deo.  12,  1835,  Ver- 

process,  printing  first  the  lines  of  the  sallies;   add.  Paris, 

staff  and  adding  the  notes  by  a  second  Pf itzner    (Hans)   composed   "  Der 

impression.      The    Venetian   Republic  arme  Heinrich,"  Mainz,  1895;    "Die 

granted  him  a  20  years'  monopoly  of  Rose    vom    Liebesgarten,"    Elberfeld, 

his  invention,  1498,  and  in  1513  Pope  1901,   incidental  music  lor  plays  by 

Leo  X  gave  him  a  15  years'  monopoly  Ibsen,  etc.,   songs,  chamber  music,  a 

in   the    States    of   the    Church.     His  'cello  sonata;   taught  Stern  Conserva- 

publications  numbered  not  less  than  tory;    conducted  at  Berlin  theatres; 

18,   including   songs,   masses,   motets,  pupil  of  his  father,  a  conductor  at  the 

etc.,   in   Measured  Music   and  a  few  Frankfort    Stadttheatre,   and   of    the 

in  Lute  Tablature,  all  of  which  are  Hoch  Conservatory.     B.  May  5,  1869, 

now  highly  valued,   and   are   charac-  Moscow;    add.  Berlin, 

terized  by  extreme  accuracy  of  register  Fhalese  (Pierre)  founded  a  music 

and  typographical  beauty.    B.  June  18,  publishing  business  at  Louvain,  1545, 

1466,    Fossombrone,   between    Ancona  at  first  issuing  Lute  Music,  and  in 

and  Urbino;  d.  May  7,  1539,  Rome.  1570   establishing  hisi  plant  in  Ant- 

Pettit    (Walter)    played    'cello   in  werp,  after  which  the  house  was  known 

London  orchestras,  and  from  1876  in  as  "  Pierre  Phal&se  et  Jean  Bellere:" 

Queen  Victoria's  private  band;    pupil  B.  1510,  Louvain;   d.  after  1603.    The 

Royal  Academy  of  Music.    B.  Mar.  14,  business  was  continued  by  his  descend- 

1835,  London;    d.  Dec.  11,  1882,  Lon-  ants  until  1674. 

don.  Phantasie.     Ger.    Fantasia. 

Petto.     It.     "  Chest,"  hence  Voce  Philadelphia  Operatic  Society  was 

Di,  the  chest  voice.  founded  in  1906-7  for  the  study  and 

Feu  &  Feu.    Fr.    Little  by  little.  presentation  of  grand  operas  by  local 

Fetzmayer  ( Johaun)  played  zither ;  musicians  and  singers.     John  Curtis 

became    chamber    musician    to    Duke  was  elected  as  president  of  the  associa- 

Max  of  Bavaria.    B.  1803,  Vienna;   d.  tion,  which  in  1908  had  a  membership 

after  1870,  Munich.  of  more  than  500,  and  S.  Behrens  con- 

Fevernage     (Andreas)     composed  ductor.     "Faust"  was  given  in  the 

madrigals,   chansons,  masses,   "  Cant-  spring   of    1907   in   the   Academy   of 

iones  Sacrae";   choirmaster  Antwerp  Music    to    an    audience    which    com- 

Cathedral.      B.    Courtrai,    1543 ;     d.  pletely  filled  the  house,  and  "Alda " 

July  30,  1591.  was  then  put  in  rehearsal.  Atperform- 

Fezze  (Alessandro)  played  'cello ;  ances  oH  Nov.  7  and  Nov.  12,  the  casts 

taught  Royal  Academy  of  Music,  Lon-  were:     Aida,    Mildred    Faas,    Isabel 

don;    pupil  Milan  Conservatory.     B.  Buchanan;     Amneris,    Clara    Yocmn- 

Aug.  11,  1835,  Milan;    add.  London.  Joyce,  Virginia  Bisler;    High  Priest- 

Fezzi.     It.     "  Pieces,"  as  Concer-  ess,    Edna   L.    Crider,    Elizabeth    D. 

tanti,   concert  pieces;    Di  Bravura,  Nash;   Rhadames,  Charles  W.  Tamme, 

display  pieces.  Frederic  C.  Fremantle;   Ramfis,  Henri 

F.  P.  serves  as  the  abbreviation  for  G.  Scott,  Frederic  Ayres;    Amonasro, 

Pianoforte;     piano,   forte;     and   Pill-  George   Russell   Strauss,   W.   Preston 

forte.  Tyler;     King,    Lewis    J.    Howell,    T. 

Pfeife.      Oer.      Fife,    pipe,    little  Foster    Why;     Messenger,    John    H. 

flute.  Cromie,  Jr.,  John  P.  Morris.     Seats 

Pfeifenwerk.      Ger.      An    organ's  for  these  performances  were  sold  by 

pipe-work.  subscription.     Then   the    society   put 

Pf eif  f er  (Georges  Jean)  composed  "  Martha,"    "  Lohengrin,"   and   "  The 

the  oratorio  "  Agar,"   the  symphonic  Huguenots "  in  rehearsal,  and  planned 

poem    "  Jeanne   d'Arc,"   the   overture  to  give  "  Faust,"  "A!da,"  "  Martha," 

"  Le  Cid,"  a  symphony,  chamber  music,  "  Lohengrin,"  and  "  The  Huguenots  " 

the     operettas     "  Capitaine     Roche,"  in  1908-9.    The  orchestra  consisted  of 

"  L'Enclume  ";  succeeded  his  father  as  80  members  of  the  Philadelphia  Or- 

member  of  the  house  of  Pleyel,  Wolff  chestra.   Philadelphia  Orchestra  had 


PHILEMON 


496 


FHILIBOB 


completed  its  eighth  season  in  1908, 
having  been  formed  for  the  purpose 
of  giving  symphony  concerts  in  that 
city.  F.  Scheel  was  the  conductor  for 
a  time,  but  in  1907  Carl  POHLIG  be- 
came conductor.  The  difficulty  of 
maintaining  an  orchestra  of  sym- 
phonic proportions  was  increased,  be- 
cause of  the  geographical  position 
of  the  city,  which  make  it  in  a  way 
dependent  upon  New  York,  or  easy  of 
invasion  from  New  York,  and  by  rea- 
son of  the  facts  that  a  series  of  con- 
certs by  the  Boston  Symphony  Or- 
chestra, as  well  as  the  occasional  per- 
formances by  the  opera  company  from 
the  Metropolitan  Opera  House  had 
long  been  established  features  of  the 
winter  season.  The  orchestra,  how- 
ever, returned  the  compliment  by  giv- 
ing concerts  in  New  York  City,  al- 
though a  season  in  Boston  has  not 
been  undertaken  thus  far.  The  Phila- 
delphia Orchestra  Association,  which 
guarantees  the  expenses,  had  for  its 
officers  in  1908,  Alex  Van  Rensselaer, 
president;  Thomas  McKean,  vice-pres- 
ident; Andrew  Wheeler,  Jr.,  secre- 
tary; Arthur  E.  Newbold,  treasurer. 
Opera  performances  were  given  at  the 
Academy  of  Music,  but  the  rival 
Haimaerstein  Opera  House  was 
expected  to  open  for  the  season  of 
1908-9. 

Philemon  et  Baucis.  Charles  F, 
Gounod's  three-act  op6ra  comique", 
to  book  by  Barbier  and  Carrg,  was 
first  performed  Feb.  18,  1860,  at  the 
Paris  Theatre  Lyrique.  As  revised 
for  the  Opgra  Comique  it  was  reduced 
to  two  acts.  Jupiter  and  Vulcan  have 
descended  to  punish  the  Phrygians  for 
their  impiety,  reported  in  Olympus  by 
Mercury;  and  they  take  shelter  in 
the  cottage  of  Philemon  and  Baucis, 
an  aged  couple  whose  evident  happi- 
ness delights  the  gods.  At  supper 
Jupiter's  milk  turns  to  wine,  and 
Philemon  and  Baucis,  thus  aware  that 
they  are  in  the  presence  of  the  god,  are 
overcome  with  awe.  Their  fears  are 
calmed,  however,  and  when  Jupiter 
has  promised  to  grant  Baucis  what- 
ever she  may  wish,  she  asks  that 
youth  may  be  restored  herself  and  hus- 
band.      Jupiter     thereupon     throws 


them  into  a  profound  slumber.  An 
intermezzo  follows  in  which  the  Phry- 
gians are  seen  at  their  orgies.  Wlien 
Vulcan  remonstrates,  they  jeer  at  him, 
and  then  Jupiter  visits  them  with 
a  terrible  storm.  The  old  couple 
awaken  in  a  palace  instead  of  the  fa- 
miliar cottage,  but  Philemon's  rage  at 
the  amorous  designs  of  Jupiter  against 
the  lovely  Baucis  causes  him  to  curse 
the  god  and  leave  his  home.  The  faith- 
ful Baucis,  overcome  with  grief,  begs 
the  god  to  grant  her  a  second  wish, 
which  he  does  on  condition  that  she 
will  yield  to  his  wishes.  Baucis  wishes 
that  she  may  be  old  again,  Philemon 
joins  in  her  prayer,  and  touched  by  so 
much  devotion,  Jupiter  returns  to 
Olympus,  leaving  them  to  their  happi- 
ness and  youth.  The  principal  musical 
numbers  are :  Act  I :  "  Du  repos 
void  I'heure,"  Philemon  and  Baucis; 
"  :fitrangeres  sur  ces  bords,"  Phile- 
mon, Jupiter,  and  Vulcan ;  "  Au  bruit 
des  iourdes  marteaux,"  Vulcan ;  "  Eh, 
quoi  parseque  Mercure, "  Jupiter ; 
"Ah!  si  je  redevenais  belle,"  Baucis; 
Act  II :  "  Que  m'importen  de  vaines 
scrupules  ?  "  Jupiter,  "  Orianate  na- 
ture," Baucis ;  "  Ne  crains  pas  que 
j'oublie,"  Jupiter  and  Baucis;  quartet 
finale. 

Philidor  (Jean)  was  the  founder  of 
the  celebrated  family  of  French  musi- 
cians who  bore  the  name,  which  is 
said  to  have  been  conferred  upon  his 
brother  Michael,  a  cremome  player, 
by  Louis  XIII,  who  compared  him  to 
the  famous  oboist  Filidori.  The  fam- 
ily name  of  the  brothers  was  Danican. 
Michael,  a  native  of  Dauphine,  who 
died  without  children,  continued  to  be 
called  Danican,  but  the  sons  of  the 
other  brother  assumed  the  name  of 
Philidor.  Michael  who  entered  the 
king's  service,  1651,  d.  about  1659. 
Jean,  who  had  played  in  the  king's 
military  band,  d.  Sept.  8,  1679,  Paris. 
Alexandre  played  bass  cremome  and 
marine  trumpet,  royal  band,  1679-8.3; 
son  of  JEAN.  Andre  "  L'Alng  "  com- 
posed _"  Le  Canal  de  Versailles," 
1687,  a'  divertisement,  "  La  Princesae 
de  Crete,"  an  opera  ballet,  1688;  made 
collections  of  dance  music,  part  of 
which  is  still  preserved  in  the  Paris 


PHILIDOR 


497 


PHILIPS 


Conservatoire  library;  played  bas-  work,  produced  Nov.  24,  1767,  at  the 
soon,  cremome,  oboe,  etc.,  in  the  King's  Paris  Op€ra,  later  as  "  Sandomir."  In 
band  in  succession  to  his  Uncle  MI-  1792,  having  retained  an  almost  un- 
CHAEL.  B.  about  1647;  son  of  JEAN;  rivalled  degree  of  popularity  in  the 
d.  Aug.  11,  1730,  Dreux.  This  Phili-  French  theatres  during  many  years, 
dor  was  the  father  of  21  children,  in-  he  obtained  permission  to  fulfil  a  chess 
eluding  ANNE,  ISIichael,  and  Fran-  engagement  in  England,  but  was 
QOis,  all  musicians,  and  by  his  classed  as  an  emigre,  and  died  before 
second  marriage  with  Elizabeth  Le  his  family  was  able  to  have  his  name 
Roy,,  of  the  famous  FRANCOIS  AN-  removed  from  the  proscribed  list.  See 
DRE.  Jacques  "Le  Cadet"  composed  biography  by  Allen,  Philadelphia, 
marches  for  drums  and  kettle-drums,  1863.  B.  ,Sept.  7,  1^26,  Druex;  son 
dance  music,  airs  for  oboe;  became  of  ANDRE  "L'AINE";  d.  Aug.  31, 
chamber  musician  to,  and  favourite  of,    1795,  London. 

Louis  XIV,  who  gave  him  a  small  es-  Philip  (Elizabeth.)  wrote  "  How  to 
tate  at  Versailles.  B.  May  5,  1657,  sing  an  English  Ballad";  composesd 
Paris;  son  of  JEAN;  d.  May  27,  ballads  and  taught;  pupil  of  Manuel 
1708,  Versailles.  12  children  of  this  Garcia.  B.  Falmouth,  Eng.,  1827; 
Philidor  and  Elizabeth  Hanique,  his  d.  Nov.  26,  1885,  London, 
wife,  included  four  musicians,  Pierre,  Fhilipp  (Isidore)  became  piano 
Jacques,  Francois,  Nicholas.  Anne  professor,  Paris  Conservatoire,  1893, 
composed  the  pastorales  "  L' Amour  where  he  had  won  the  first  prize  for> 
vainqueur,"  "Diane  et  Endymion,"  that  instnunent  ten  years  before; 
"  Danae  ";  foimded  the  Paris  Concerts  composed,  arranged  piano  pieces; 
Spirituels,  which  he  conducted  1725-  founded  the  "  Society  des  instru- 
27;  was  Louis  XIV's  favourite  oboist,  ments  a  vent,''  which  gave  chamber 
B.  April  11,  1681,- Paris;  son  of  AN-  concerts  in  Paris,  1896-1901;  played 
DRE  "L'AINE";  d.  Oct.  8,  1728,  piano  at  the  principal  Paris  con- 
Paris.  Prangois  Andre  Danican  dia-  certs.  B.  Sept.  2,  1863,  Budapest;  add. 
tinguished  himself  equally  in  the  art    Paris. 

of  music  and  the  game  of  chess.  Pu-  Philipps  (Adelaide)  sang  con.  in 
pil  in  harmony  of  CAMPRA,  he  be-  opera  and  concert,  debut  Milan,  1854, 
came  famous  as  a  chess  player  in  Lon-  as  Rosina,  then  in  London  English 
don,  where  he  published  his  "  Analyse  operas,  Azucena,  New  York  Academy 
du  jeu  des  echoes  "  in  1749,  and  won  of  Music,  1856,  touring  Europe,  then 
three  games  against  the  most  skil-  joined  the  Boston  Ideal  Opera  Com- 
ful  members  of  the  London  Chess  Club,  pany,  1879,  last  appearance,  Cincin- 
played  simultaneously  and  vidthout  nati,  1881;  pupil  of  Manuel  Garcia, 
seeing  the  boards.  Recalled  to  France  B.  1833,  Stratford-on-Avon,  Eng.; 
by  Diderot  and  other  friends,  1754,  d.  Oct.  3,  1882,  Carlsbad, 
he  composed  the  motet  "  Lauda  Jeru-  Philips  (Peter)  composed  mad- 
salem"  hoping  to  obtain  the  ap-  rigals,  first  publication  as  "Melodia 
pointment  of  Surintendant  de  la  mu-  Olympiea,"  eto.^  Antwerp,  1591,  Can- 
sique  du  roi,  but  failing  in  this,  de-  tiones  Sacrae,  PHALESE,  Antwerp, 
voted  himself  to  "  Blais  le  Savetier,"  1613,  dedicated  to  the  Blessed  Virgin; 
an  opgra  eomique  which  proved  a  com-  motets,  some  of  the  earliest  of  organ 
plete  success,  1759,  and  following  this  fugues;  became  organist  of  the  Chapel 
with  a  long  series  of  works  of  which  Royal  at  Brussels,  where  he  is  aup- 
the  most  notable  were  "  Le  Sorcier,"  posed  to  have  taken  up  residence  to 
"  Tom  Jones,"  1765,  the  latter  con-  avoid  persecution  because  of  his  ad- 
taining  a  famous  unaccompanied  quar-  herence  to  the  Roman  Catholic_faith 
tet  "Le  Marechal,"  which  contained  in  England;  became  canon  of  Soign- 
the  first  "air  descriptif";  "Le  Diable  ies,  and  later  of  Bethune,  and  ohap- 
k  quatre,"  which  had  200  perform-  lain  at  the  court  of  Archduke  Albert^ 
anees,  and  the  grand  opera  "Ernel-  governor  of  the  Netherlands,  and  chap- 
inde,''  generally   considered  his  best   lain  of  St.  Germain,  Tirlement.     In 

32 


PHILLIPS 


498 


PIANETTE 


recent  times  there  has  been  a  reyival 
of  Philips's  music  by  the  choir  of 
Westminster  Cathedral,  and  much  of 
his  work  has  been  lithographed  for 
present  use.  B.  England;  d.  after 
1633. 

Phillips  (Arthur)  composed  "The 
Requiem,  or  liberty  of  an  imprisoned 
royalist,"  1641;  "The  Resurrection," 
1649;  played  organ  Bristol  Cathedral, 
professor  of  Music,  Oxford,  but  quitted 
the  Anglican  for  the  Roman  Catholic 
church.    B.  1605;   d.  Mar.  27,  1695. 

Phillips  (Henry)  wrote  "Musical 
and  personal  recollections  during  half 
a  century,"  London,  1864;  sang  bal- 
lads and  in  oratorio  with  success 
in  England  and  America;  pupil  of 
Sir  George  Smart.  B.  Aug.  13,  1801, 
Bristol;  d.  Nov.  8,  1876,  Dalston, 
Eng. 

Phillips  (John)  improved  the  art 
of  stamping  music  on  pewter  plates, 
and  published  music  in  London,  1750, 
by  this  method.  In  partnership  with 
his  wife  Sarah,  who  survived  him,  and 
was  conducting  the  business  herself  in 
1768. 

Phillips  (William  Lovell)  com- 
posed a  symphony  in  F  minor,  music 
to  the  farce  "  Borrowing  a  Husband  "  ; 
played  organ,  'cello ;  conducted  in  Lon- 
don theatres ;  pupil  Royal  Academy  of 
Music.  B.  Dec.  26,  1816,  Bristol;  d. 
Mar.  19,  1860. 

Philtre.  Daniel  F.  E.  Auber's  two- 
act  opera,  to  book  by  Scribe,  the  sub- 
ject being  identical  with  that  of  Doni- 
zetti's "  ELISIR  D'AMORE,"  was  first 
performed  June  20,  1831,  at  the  Paris 
Academic  Royale. 

Phipson  (Thomas  Lamb)  wrote 
"Biographies  of  Celebrated  Violin- 
ists," and  other  books  on  music;  ama- 
teur violinist;  Dr.  Sc,  Brussels.  B. 
May  5,  1833,  near  Birmingham,  Eng. 

Phonascus.  L.  Word  of  Greek 
origin  applied  to  teachers  Of  declama- 
tion and  singing. 

Phonograph.  Thomas  A.  Edison's 
improvement  of  the  "  graphophone," 
invented  by  Taintor  of  Baltimore,  is 
of  musical  interest  as  the  type  of  sev- 
eral instruments  by  which  articulate 
sound  may  be  registered  and  after- 
wards reproduced.    A  cylinder  coated 


with  wax  is  made  to  revolve  at  an 
even  degree  of  speed  either  by  clock- 
work or  a  small  electrical  battery. 
A  fine  steel  point  or  needle  attached  to 
a  diaphragm,  which  in  turn  is  attached 
to  a  speaking  trumpet  or  horn,  is 
brought  in  contact  with  the  cylinder, 
upon  which  it  records  in  fine  spiral 
lines  the  vibrations  of  sound  gathered 
by  the  horn.  The  sounds  are  repro- 
duced by  again  setting  the  cylinder  in 
motion  and  permitting  the  needle  to 
follow  the  path  it  has  already  marked 
out,  on  which  the  same  vibrations  it 
had  previously  recorded  are  set  up  in 
the  horn,  and  the  speech,  melody,  or 
harmony  accurately  reproduced.  Some- 
times called  a  "  talking  machine  "  be- 
cause of  its  power  of  reproducing 
human  speech,  the  Phonograph  has 
likewise  served  to  record  for  future 
generations  the  voices  of  the  world's 
greatest  singers.  The  records  were 
made  on  the  instrument  first  exhibited 
in  1877  on  tinfoil.  Permanent  rec- 
ords were  made  on  a  hard  composi- 
tion in  1908,  althoiigh  wax  was  still 
employed  for  temporary  records.  Disks 
often  replace  cylinders  as  "  records." 

Phonometer.  Instrument  of  meas- 
uring the  vibrations  of  a  given  tone. 

Phorminx.    LYRE. 

Phrase.  Clause  of  a  musical  sen- 
tence such  as  may  be  sung  with  a 
single  breath  or  played  with  a  single 
bow  stroke. 

Phrasing.  The  utterance  of  a  pas- 
sage in  music  with  regard  to  its  rela- 
tion and  contrast,  and  to  rhythmic  and 
melodic  punctuation.  The.phrasing  or 
EXPRESSION  of  a  work  is  carefully 
indicated  in  modern  NOTATION  by 
the  slur,  sf.,  etc. 

Phrygian.  Third  of  the  Church 
MODES. 

Physharmonica.  Free  reed  organ 
stop;  small  reed  organ  invented  by 
Haeckel,  Vienna,  1818,  to  reinforce  the 
tones  of  the  piano,  and  the  forerunner 
of  the  HARMONIUM. 

Piacere.    /*.   "  At  pleasure." 

Piacevole.   It.  Agreeable,  pleasant. 

Piacevolmente.  /*.  Pleasantly, 
lightly. 

Piacimento.    /*.    PIACERE. 

Pianette.    Diminutive  PIANO. 


PIANGENDO 


499 


FiAnroiiA 


Pian^ndo.  It.  "  Wailing,"  plain- 
tively. 

Pianino.    It.    PIANETTE. 

Pianissimo.  It.  As  softly  as  pos- 
sible. 

Piano.    /(.    Softly. 

Piano  a  Queue.  Fr.  Grand  PIANO. 

Piano  Carre.    Fr.    Square  PIANO. 

Piano  Droi.    Fr.    Upright  PIANO. 

Piano  or  Pianoforte  has  become  the 
most  important  of  modern  instruments 
of  music  except  the  organ,  to  which 
only  it  is  second  as  a  means  of  obtain- 
ing orchestral  effect;  possesses  a  chro- 
matic scale  of  from  "A  to  a""  and 
sometimes  an  additional  octave,  and 
is  made  in  a  great  variety  of  forms. 
Its  principle  is  that  of  the  dulcimer, 
that  is  to  say,  it  consists  of  strings 
stretched  across  a  frame  attached  to  a 
sounding  board  and  struck  by  ham- 
mers, but  instead  of  the  hammers  being 
held  in  the  hand,  they  are  set  in  mo- 
tion by  mechanism  operated  from  a 
keyboard,  and  called  the  Action.  The 
instnmient  as  built  to-day  is  the  prod- 
uct of  centuries  of  evolution.  The 
earlier  stringed  keyboard  instrimients, 
the  Clavichord  and  Harpsichord,  both 
capable  of  exquisite  effects  in  the  hands 
of  competent  performers,  but  operated 
not  by  hammer  but  by  plectra  and  tan- 
gents, had  reached  nearly  to  perfection 
when,  about  1709,  Bartolommeo  CRIS- 
TOFORI,  a  Florentine  harpsichord 
maker,  invented  what  he  called  a 
"  Graveeembalo  col  Piano  e  Forte " 
(harpsichord  with  soft  and  loud),  the 
first  Piano.  An  instrument  of  Cristo- 
fori's,  dated  1720,  may  be  seen  at  the 
Metropolitan  Museum,  New  York.  An- 
other, dated  1726,  is  preserved  in  the 
Kraus  Collection,  Florence.  In  1716 
Marius,  a  French  harpsichord-maker, 
perfected  what  he  called  a  "  Clavecin  a 
Malletiers"  (harpsichord  with  ham- 
mers), and  between  1716  and  1721 
Schroeter,  a  German  organist,  claimed 
to  have  devised  two  hammer-actions. 
Neither,  however,  were  as  perfect 
mechanically  as  the  earliest  instru- 
ments of  Criatofori.  Silbermann  made 
pianos  or  "Hammerclaviers"  for  Fred- 
erick the  Great  about  1746,  which  may 
still  be  seen  at  Potsdam,  modelled  after 
Cristofori.     Stein  of  Augsburg,  1777, 


invented  a  hopper  escapement;  Sebaa- 
tien  ERARD,  Paris,  1808,  invented  the 
"double  escapement";  Alpheus  Bab- 
cock,  Boston,  1825,  invented  the  single 
piece  cast  iron  frame ;  Jonas  CHICK- 
ERING,  Boston,  1840,  improved  this 
single  piece  frame  by  including  in  it 
the  Pin  Bridge  and  Damper  Socket 
Rail,  and  STEINWAY  &  Sons,  New 
York,  1859,  produced  a  single  piece 
cast  frame  with  a  double  overstrung 
scale.  The  importance  of  these  frames 
will  be  understood  when  it  is  stated 
that  the  tension  of  strings  in  a  modern 
Piano  varies  between  24,000  and  40,000 
pounds.  A  score  of  makers  have  de- 
voted time  toward  the  perfection  of 
the  action.  The  universal  popularity 
of  the  Piano  as  a  household  instru- 
ment has  made  it  so  familiar  that  a 
detailed  description  of  the  mechanism 
may  be  safely  omitted.  It  will  suffice 
to  add  that  piano  manufacturers  are 
quick  to  adopt  each  other's  improve- 
ments, and  where  they  are  protected 
by  patent,  to  adapt  them,  so  that  as 
between  a  dozen  or  so  of  instruments 
by  modern  makers  in  various  parts  of 
the  world,  sold  at  the  same  price,  the 
layman  will  detect  but  little  difference. 
The  preference  for  this  or  the  other 
make  expressed  by  visiting  virtuosi 
may  be  wholly  ignored,  since  they  sign 
testimonials  for  whatever  manufac- 
turer they  may  be  employed  by  for 
the  time  being,  and  it  sometimes  hap- 
pens that  such  testimonials  from  the 
same  artist  are  held  by  three  or  four 
different  manufacturers. 

Pianograph.  Machine  invented  by 
Guerin  for  recording  music  as  it  is 
performed  on  the  piano. 

Pianola.  E.  S.  Votey's  invention, 
New  York,  1897,  consiste  of  a  pneu- 
matic mechanism  by  means  of  which 
notes  cut  in  a  roll  of  paper  may  be 
played  on  the  piano.  The  power  of  the 
tone,  the  speed,  and,  since  the  inven- 
tion of  secondary  attachments,  the 
melody  may  be  controlled  by  the  per- 
former. The  Pianola  may  be  either  a 
detachable  part  or  built  within  the 
case  of  an  upright  piano  which  may 
then  be  adjusted  by  levers  for  either 
Pianola  or  manual  playing.  The  air 
pressure  is  obtained  by  treddles   in 


PIANO    ORGAN 


500 


PICCINNI 


either  case.  In  1908  there  were  sev- 
eral varieties  of  mechanical  piano 
players  on  the  market  constructed  on 
the  Pianola  principle.  The  perforated 
sheets  then  included  thousands  of  com- 
positions ranging  from  Beethoven's 
symphonies  to  the  latest  "  ragtime " 
coon  songs.  It  may  be  observed  that 
while  these  instruments  have  opened 
the  world  of  music  to  a  multitude  of 
people  who  have  lacked  opportunities 
for  acquiring  piano  technique,  even 
though  "  readings  "  by  various  celebri- 
ties are  carefully  observed  by  the  per- 
former, the  delicate  shades  of  expres- 
sion, which  are  the  soul  of  music,  can 
be  produced  by  musicians  only. 

Piano  Organ.  Variety  of  BARREL 
organ. 

Piano  Score.  Vocal  or  orchestral 
music  arranged  for  the  piano. 

Piano  Violin.  H.  C.  Baudet's  in- 
vention, Paris,  1865,  by  which  tones  re- 
sembling in  Timbre  those  of  the  violin 
were  obtained  from  a  keyboard  in- 
strument, was  based  on  the  principle 
of  the  hurdy-gurdy.  As  in  the  piano, 
there  were  wire  strings  to  each  note, 
arranged  as  in  an  upright,  and  to 
each  string,  near  its  nodal  point,  was 
affixed  a  stiff  piece  of  catgut.  A  re- 
volving roller  set  up  a  vibration  in 
the  catgut  by  which  it  was  communi- 
cated to  the  string.  This  instrument, 
which  bore  the  above  title  in  England,, 
was  known  in  France  as  the  Piano 
Quatuor.  As  early  as  1610,  Hans 
Haydn,  of  Nuremberg,  invented  a 
"  Geigenwerk  "  which  was  an  attempt 
to  obtain  violin  tone  from  a  key- 
board instrvunent,  and  numerous  in- 
ventions were  announced  in  interven- 
ing years. 

Piatti.    It.    CYMBALS. 

Piatti  (Alfredo  Carlo)  composed 
three  concertos  and  other  music  for 
'cello;  songs,  chamber  music;  wrote 
method  for  'cello;  played  'cello  at  the 
principal  London  concerts  from  May 
31,  1844,  when  he  made  his  first  ap- 
pearance there,  with  Joachim  (with 
whom  he  celebrated  his  jubilee  50  years 
later) ;  pupil  of  his  great  uncle  Zan- 
etti,  later  of  Merighi  at  the  Milan 
Conservatory.  B.  Jan.  8,  1822,  Ber- 
gamo; d.  July  18,  1901,  near  Bergamo. 


Piboorn.    Small  Welsh  pipe. 

Pibroch.  Martial  bagpipe  music  of 
the  Scotch  Highlands,  usuaJly  consist- 
ing of  an  air  twice  played,  then  fol- 
lowed by  variations. 

Piccinni  (Niccola)  rivalled  Gluck 
in  popular  favor  as  a  composer  of 
opera  in  Paris ;  composed  "  La  Cec- 
china,"  Rome,  1760,  which  became 
the  world's  favourite  opera  buffa;  "I 
viaggiatori,"  1774,  which  attained 
almost  equal  success,  and  in  all  133 
dramatic  works;  three  oratorios,  a 
mass,  and  other  church  music.  Son  of 
a  church  musician,  by  the  advice  of 
the  BisEop  of  Bari,  he  was  placed  in 
the  Naples  Conservatory  of  San  Onof- 
rio  at  14,  became  the  pupil  of  Leo  and 
Durante  and  after  12  years'  study  pro- 
duced his  first  comic  opera  "  Le  Donne 
dispettose,"  Naples,  1755.  It  was  re- 
markably successful,  and  led  to  the 
production  of  his  "  Le  Gelosie,"  and 
"  II  Curioso  del  proprio  danno,"  and 
the  serious  operas,  "  Alessandro  nell' 
Indie  "  and  "  Zenobia."  In  1856  he 
married  his  pupil,  Vincenza  Sibilla, 
who  was  gifted  with  beauty  and  an  ex- 
cellent voice,  although  Piccinni  would 
not  permit  her  to  sing  in  opera.  After 
the  great  furore  caused  in  Rome  by  his 
"  La  Cecchina,"  he  composed  a  setting 
of  "  L'Olimpiade "  and  half  a  dozen 
other  works,  but  was  driven  from  the 
Roman  stage  by  Anfossi,  his  former 
pupil.  Serious  illness  followed  this 
defeat,  but  the  following  year  the  fa- 
vourable reception  accorded  his  "  I 
viaggiatori "  in  Naples  restored  his 
confidence  in  his  powers,  and  in  1776 
he  accepted  an  offer  of  6000  francs  per 
annum  and  his  expenses  from  Paris. 
"  Roland,"  1778,  was  his  first  French 
opera.  During  the  semi-political  dis- 
putes between  the  Glueks  and  the  Pic- 
cinnists,  Piccinni  kept  out  of  sight  as 
much  as  possible.  His  genuine  ad- 
miration of  Gluck  was  proved  by  an 
unsuccessful  attempt  after  that  com- 
poser's death  to  raise  funds  for  a  mon- 
ument to  his  memory.  However,  the 
war  kept  up,  especially  when  Piccinni 
was  made  director  of  an  Italian  com- 
pany, and  thus  had  an  opportunity  of 
presenting  the  best  of  his  earlier 
works.     Finally  the  management  of 


PICCnCNNI 


501 


TlERNli 


the  ppgra  ordered  operas  from  both 
Piccimii  and  Gluck  on  "  Iphigene  en 
Tauride."  Gluck's  work  was  first  pro- 
duced with  complete  success,  and 
when  Piecinni's  work  had  its  first  per- 
formance, Jan.  23,  1781,  although 
it  received  17  consecutive  perform- 
ances, it  became  known  as  "  Iphigenie 
en  Champagne,"  from  the  fact  that 
Mile.  Laguerre,  who  sang  the  title 
rSle,  had  been  tipsy.  Piecinni's  next 
successful  work  was  "  Didon,"  Oct.  16, 
1783,  performed  250  times  up  to  1826, 
when  it  was  shelved.  This  came  out 
after  Gluck's  departure  from .  Paris, 
when  Sacchini  headed  the  opposition. 
When  Sacchini  died,  Piccinni,  in  no 
wise  embittered  by  the  rivalry  be- 
tween them,  pronounced  a  eulogy  at 
his  funeral.  On  the  failure  of  his  ser- 
ious opera,  "  Clytemnestra,"  just  on 
the  eve  of  the  French  Revolution,  Pic- 
cinni retired  to  Naples,  where  he  was 
given  a  court  appointment,  produced 
the  oratorio  "  Jonathan "  and  the 
comic  opera  "  La  Serva  onorta."  Sus- 
pected of  favouring  the  revolutionary 
party,  he  withdrew  to  Venice,  where 
he  produced  two  operas,  then  return- 
ing to  Naples,  was  cast  into  prison  as 
a  political  suspect,  where  he  remained 
four  years.  In  1798  he  returned  to 
Paris,  was  highly  honoured  at  the  Con- 
servatoire, and  presented  with  5000 
francs.  A  small  pension  was  granted 
him,  but  the  finances  of  the  govern- 
ment were  uncertain,  and  Piccinni  was 
reduced  to  want.  He  suffered  a  par- 
alytic stroke.  When  recovered,  he  was 
made  an  inspector  at  the  Conserva- 
toire, but  died  a  few  months  later. 
Beyond  giving  greater  length  and  vari- 
ety to  the  duet  and  more  importance 
to  the  finale,  Piccinni  exerted  no  in- 
fluence upon  opera.  Besides  the  works 
named,  those  of  chief  importance 
were:  "II  Re  pastore,"  1760;  "Le 
fait  meprise,"  1779;  "Atys,"  1780; 
"Le  dormeur  eville"  and  "  Le  faux 
Jiord,"  1783;  B.  Jan.  16,  1728,  Bari, 
Naples;  d.  May  7,.  1800,  Paris.  Lu- 
dovic  became  chapelmaster  at  Stock- 
holm. B.  1766,  Naples;  son  of  NIC- 
COLA;  d.  July  31,  1827,  Paris.  Louis 
Alexandre  composed  25  comic  operas 
and  200  stage  pieces.    B.  Sept.  10, 


1779,  Paris;  natural  son  of  Giuseppe, 
oldest  son  of  NICCOLA;  d.  April  24, 
1850,  Paris. 

Piociolo.  It.  "  Little,"  as  Violin6, 
small  violin. 

Ficcolellis,  di  (Giovanni)  wrote 
"  Liutai  Antichie  Modemi,"  a  valuable 
illustrated  history  of  the  violin  and 
its  makers,  of  all  nationalities,  Flor- 
ence, 1885,  and  a  paper  on  the  authen- 
ticity of  the  bow  instruments  pre- 
served in  the  Royal  Musical  Institute 
of  Florence,  1889. 

Piccolo.  Small  or  Octave  FLUTE ; 
organ  stop  of  wood  pipes  of  two-foot 
length. 

Piccolo  Violino.    KIT. 

Piccolomini  (Harietta)  sang  sop. 
in  opera,  debut  London,  1856,  in  first 
performance  there  of  "Traviata," 
where  her  Violetta  was  the  subject  of 
heated  newspaper  controversy;  was 
pretty,  realistic,  but  possessed  not 
more  than  one  and-  one-half  octaves, 
later  sang  in  Paris  Theatre  des  Ital- 
iens,  in  America,  1858;  repertoire  in- 
cluding Zerlina,  Susanna,  Arline, 
Amina;  pupil  of  Mazzarelli  and  Ro- 
mani,  Florence,  where  she  sang  Lu- 
crezia  as  early  as  1852.  B.  1836, 
Sienna;  m.  Marquis  Gaetamo  della 
Fargia;    d.   1899,  Florence. 

Picco  Pipe.  Small  three-holed 
wooden  whistle,  so  named  after  a 
blind  Italian  peasant  who  played  it  in 
London,  1856,  obtaining  a  range  of 
three  octaves. 

Pichel  (Wenzel)  composed  88  sym- 
phonies, 25  operas,  14  masses,  148 
Baryton  soli,  in  all  nearly  700  works; 
played  violin;  became  composer  to 
Archduke  Ferdinand  at  Milan  until 
the  French  occupation  of  that  city, 
then  accompanied  him  to  Vienna,  pu- 
pil of  Segert.  B.  Bechin,  Tabor,  Bo- 
hemia, Sept.  25, 1741 ;  d.  Jan.  23,  1805, 
Vienna. 

Piece.  Musical  composition,  as 
"  SUITE  de  pieces." 

Pieds.    Fr.    FEET. 

Plena.  It.  Full,  as  a  plena  orches- 
tra, grand  orchestra. 

Pierne  (Henri  Constant  Gabriel) 
composed  the  operas  "  La  Vendue," 
Lyons,  1897;  "La  Fille  de  Tabarin," 
Paris  Opera  Comique,  1901;   the  sym- 


■PIER-RE                    503  PINTO 

phonic  poem  with  chorus,  "  L'an  Mill,"  PlfEarari.    Piflero  players. 

and   "Croisade   des   Enfants,"   1905;  PifEerino.    /*.    Little  PIFFERO. 

became  organist  Ste.  Clotilde,  Paris,  in  PifEero.     Obsolete  Italian  bagpipe; 

Succession  to  C€sar  Franck,  1890;   pu-  oboe. 

pil  of  the  Paris  Conservatoire,  where  Piggott    (Francis)    played   organ, 

he  won  prizes  for  solfege,  piano,  har-  Eng.    Chapel    Royal;     composed    an- 

mony  and  counterpoint,  and  in  1881  thems;     organist,    Magdalen   College, 

the  prix  de  Rome  with  his  "Edith."  Oxford,  1688;    d.  May  15,  1704,  when 

Other  works  to  be  noted:   "LesElfes,"  he  was  succeeded  by  his  son,  J.  Pig- 

"Le  Collier  de  Saphirs"  (pantomime),  gott. 

incidental  music  to  "  Izeyl,"  "  Salome,"  Pileata.     L.  "  Capped  "  or  stopped 

"La  Princesse  Lointaine,"  the  one-act  organ  pipes. 

opera  "  La  coupee  enehantre,"  ^OpSra  Pilgrime  von  Mekka.     Christoph 

Comique,     1895;     the    lyric    episode  Willibald  Gluck's  comic  opera,  based 

"  Nuit    de    NSel,"    concertstiick    for  on  IDancourt's   "  Reeontre  imprevue," 

harp     and     orchestra,     "  Serenade,"  was      first      performed,       1764,      at 

"Marche  des  petits  aoldats  de  plomb,"  Schonbrunn. 

the  chorus.  "Pandora,"  and  music  to  Pilkington     (Francis)     composed 

"La  Samaritaine."    B.  Aug.  16,  1863,  four-part  songs  and  airs,  1604;   three, 

Metz;    add.  Paris.  four,   and   five-part   madrigals,    1613, 

Pierre  (Constant  Victor  Besire)  and  a  second  set  of  madrigals,  1624; 

became  secretary  of  the  Paris  Conser-  lutenist  and  singer  at  Chester  Cathe- 

vatoire,    1900;     wrote    "Le    Concert-  dral,  where  he  eventually  took  orders 

Spirituel,  1725-1790,"  crowned  by  the  and  became  precentor.    B.  Lancaster; 

Institut,    1900;     "  Le    Conservatoire  d.  after  1624. 

national   de  musique  et  de   declama-  Pinafore.      Sir    Arthur   Sullivan's 

tion,"   and   other   valuable   historical  comic  opera,  to  book  by  W.  S.  Gilbert, 

books;   edited  "Monde  Musicale";    in  was  first  performed  May  25,  1878,  at 

early  life  a  bassoon  player.     B.  Aug.  the  Op6ra  Comique   in   London.     Its 

24,  1855,  Paris;    add.  Paris.  popularity  was  so  great  that  a  "No. 

Pierson      or      Pearson      (Henry  2  company  "  was  soon  required  in  Lon- 

Hugo)    composed    the    operas    "  Der  don,  and  in  New  York  there  were  four 

Elfensieg,"      "  Leila,"      "  Contarini,"  companies    performing    it    simultane- 

■"  Fenice  " ;     the    oratorios    "  Jerusa-  ously  at  different  theatres. 

lem,"  Norwich  Festival,  1852,  "  Heze"-  Pince.     Fr.     "  Pinched."     PIZZI- 

kiah,"  setting  of  the  second  part  of  CATO;  harpsichord  ornament. 

"  Faust,"    overtures     to    "  Macbeth,"  Pinello    di    Gherardi    (Giovanni 

"  As  You  Like  It,"  and  "  Romeo  and  Battista)  composed  songs,  church  mu- 

Juliet,"  the  part  song,  "Ye  Mariners  sic,  pastorals;    served  in  the  Imperial 

of  England,"  songs;  became  Reid  pro-  chapel,  Prague,  and  as  chapelmaster 

feasor  of  music  at  Edinburgh,   1844,  at  Dresden.    B.  1540,  Genoa;   d.  June 

but    soon    resigned    and    settled    in  15,  1587,  Prague. 

Leipsic,  where  he  had  been   a  pupil  Pinsuti  (Giro)  composed  230  songs, 

of   Rink,  Tomaschek,  and  Reissiger ;  the  opera  "  II  Mercante  di  Venezia," 

played  piano  and  organ.    B.  April  12,  ete.,    taught    singing,    London    Royal 

1815,    Oxford;      d.    Jan.    28,     1873,  Academy  of  Music;   chevalier  of  SS. 

Leipsic.  Maurice    and    Lazarus,    and    of    the 

Pieterez  (Adrian)  built  organs  in  Crown   of   Italy;     pupil   of   Bologna 

Belgium;    one  at  Delft,  1455.  Conservatory  and  of  Rossini.    B.May 

Pietosamente.    /*.    Tenderly,  with  9,  1829,  Sinalunga,  Sienna;    d.  Mar. 

pity.  10,  1888,  Florence. 

PietOBO.    It.    Pity.  Pinto  (Thomas)  played  violin  and 

Pietro   11  Grand.     Louis   Antoine  led  London  and  Dublin  concerts.     B. 

Jullien'a  opera,  to  book  by  Ryan  and  1714,  London;    m.  Miss  BRENT;    d. 

Maggioni,  was   first  performed   Aug.  1779,  Dublin.     George  Frederic  com- 

17,  1852,  at  Covent  Garden,  London.  posed  violin  music  j  played  violin.    B. 


FIOZZI 


503 


PITCH 


Lamberth,  Sept.  25,  1786;  grandson 
of  THOMAS;  d.  Mar.  23,  1806, 
London. 

Fiozzl  (Gabriel)  composed  "La 
Contradizzione,"  canzonet  for  sop., 
taught  music  in  Bath;  married  the 
widow  of  Henry  Thrale,  thereby  in- 
curring the  wrath  of  Dr.  Johnson.  B. 
Florence;  d.  1809,  Brynbela,  Denbigh- 
shire, Eng. 

Pipe.  Probably  the  earliest  form 
of  musical  instrument,  and  of  prehis- 
toric origin,  the  pipe  has  been  found 
in  various  forms  in  every  part  of  the 
world.  The  modern  organ  is  merely 
an  assemblage  of  pipes  of  different  ma- 
terials, lengths,  and  construction;  all 
woodwind  and  brass  instruments  are 
but  improvements  on  the  whistles 
which  are  still  a  favourite  toy  with 
children.  The  Science  of  ACOUSTICS 
is  largely  interested  in  the  study  of 
tone  production  from  pipes,  and  the 
wide  variety  of  effects  obtainable  from 
open,  stopped,  conical,  cylindrical 
pipes,  and  those  .in  which  the  vibra- 
tion is  set  up  by  double  or  single  reeds, 
by  the  vibration  of  the  lips  in  a 
mouthpiece,  or  the  air  impinging  on  a 
lip  in  flue  pipe. 

Pique.     Fr.    SPICCATO. 

Pique  (Louis  Prangois)  made  vio- 
lins in  Paris,  the  best  of  which,  on  the 
Stradivarius  model,  resemble  those  of 
Lupot;  said  to  have  been  pupil  of 
Saunier.  B.  Koret,  near  Mirecourt, 
1758;  di  1822,  Charenton-Saint  Mau- 
rice. 

Piquiren.  Ger.  To  play  SPIC- 
CATO. 

Pirani,  di  (Eugenio)  composed  the 
symphonic  poem  "Heidelberg,"  songs; 
played  piano;  pupil  of  KuUak  Acad- 
emy and  Bologna  Liceo  Musioale; 
taught  in  Berlin,  Heidelberg,  New 
York.  B.  Sept.  8,  1852,  Bologna;  add. 
New  York. 

Pirata.  Vincenzo  Bellini's  two-act 
opera,  to  book  by  Eomani,  was  first 
performed  Oct.  27,  1827,  at  La  Scala, 
Milan. 

Pirates  of  Penzance.  Sir  Arthur 
Sullivan's  two-act  comic  opera,  to 
book  by  W.  S.  Gilbert,  was  first  per- 
formed Dec.  31,  1879,  at  the  Fifth  Av- 
enue Theatre,  New  York  City. 


Pirouette.  Cap  for  the  double  reed 
in  obsolete  instruments  of  the  oboe 
family. 

Pisari  (Pasquale)  composed  a  16- 
part  Dixit  Domine  for  the  papal 
jubilee,  1775,  two  eight-part  and  one 
four-part  Te  Deums  and  other  church 
music;  sang  in  papal  choir.  B.  1725, 
Rome;    d.  1778,  Rome. 

Pisaroni  (Benedetta  Boaamunda) 
sang  con.  rOles  in  opera,  excelling  as 
Arsace  in  "  Semiramide,"  highly  pop- 
ular though  disfigured  by  smallpox; 
pupil  of  Pino  Moschini  and  Marches!, 
and  in  early  life  high  sop.  B.  Feb.  fl, 
1793,  Fiacenza;  d.  Aug.  6,  1872,  Fia- 
cenza. 

Piscbek  (Johann  Baptist)  sang 
bar.  in  opera  and  concert;  chamber 
singer  to  the  King  of  WUrtemberg.  B. 
Oct.  14,  1814,  Melnick,  Bohemia;  d. 
Feb.  16,  1873,  Stuttgart. 

Pisendel  (Oeorg  Johann)  com- 
posed for  and  played  violin;  chapel- 
master  to  the  King  of  Poland  and  con- 
certmeister  to  the  court  of  Dresden. 
B.  Dec.  26,  1687,  Franconia,  Transyl- 
vania;  d.  Nov.  25,  1755,  Dresden. 

Pistocchi  (Francesco  Antonio 
Hamiliano)  founded  a  famous  singing 
school  in  Bologna;  composed  "Lean- 
dro,"  "Narcisso"  and  other  operas; 
the  oratorio  "  Maria  vergine  addol- 
rata,"  "  La  fuga  di  S.  Teresia,"  chapel- 
master  to  the  Margrave  of  Anspach; 
joined  the  Oratorians,  1715.  B.  1659, 
Palermo ;   d.  May  13,  1726,  Bologna. 

Piston.  Attachment  for  bringing 
the  crooks  of  COENETS  and  other  in' 
struments  into  play  when  depressed 
by  the  fingers. 

Pitch.  Sounds  are  either  high  or 
low  as  the  vibrations  by  which  they 
are  produced  are  higher  or  lower  in 
number.  The  system  of  octave  nomen- 
clature now  generally  employed  and 
used  in  this  book  is  explained  under 
the  caption  C,  and  is  based  upon 
French  or  International  pitch, 
adopted  by  law  in  France,  1859, 
and  at  the  Vienna  Congress,  1857. 
This  pitch,  now  universally  adopted, 
except  in  England,  gives  a'  435  double 
vibrations  per  second,  or  c"  522  double 
vibrations.  The  Philosophical 
pitch  used  in  some  text-books  gives,  a' 


PITCH    PIPE 


504 


PITTSBXraOH 


427  double  vibrations  per  second.  The 
London  Philharmonic  Society 
pitch,  adopted  1896,  gives  a'  439.  This 
pitch  was  arrived  at  after  noting  that 
the  Biapason  Normal  known  as 
French  or  International  Pitch  calcu- 
lated its  a'  435  at  15  degrees  Cent,  or  59 
degrees  Fahrenheit,  while  the  tempera- 
ture of  the  concert  room  is  usually 
about  68  degrees  Fahrenheit,  causing  a 
rise  in  the  pitch  of  wind  instruments. 
The  pitch  of  the  Classical  period,  also 
kliown  as  Mean  pitch  was  a'  between 
415  and  429  double  vibrations.  Then 
the  desire  of  instrument  makers  to  in- 
crease the  brilliancy  of  tone  brought 
pitch  to  a'  454.7,  which  was  employed 
at  the  London  Philharmonic  concerts 
of  1874,  and  is  known  as  Maximum 
pitch.  Handel's  tuning  fork,  which 
gives  a'  422.5,  may  be  taken  as  the  18th 
century  compromise  between  the 
Chorton,  which  was  the  church 
pitch,  and  the  Kammerton,  which 
was  about  a  tone  higher.  The  Stutt- 
gart pitch,  a'  440,  recommended  by  a 
Congress  of  Physicists  in  Stuttgart, 
1834,  never  came  into  general  use. 

Pitch  Pipe.  Pipe  with  movable 
stopper  for  announcing  the  pitch. 
Several  varieties  are  made,  including 
one  with  an  adjustable  reed,  but  none 
is  equal  in  accuracy  to  a  set  of  tuning 
forks. 

Pitoni  (Giuseppe  Ottavio)  com- 
posed a  16-part  Dixit  Domine  still 
sung  at  St.  Peter's,  Rome,  in  Holy 
Week;  masses;  complete  services  for 
the  year;  wrote  a  Guide  to  Harmony, 
1689;  a  history  of  Roman  chapelmas- 
ters  from  1500  to  1700;  was  chapel- 
master  of  the  Roman  Collegio  di  San 
Marco  and  at  many  Roman  churches; 
pupil  of  Natale  and  Foggia.  B.  Mar. 
18,  1657,  Rieti;  d.  Feb.  1.  1743,  Rome. 

Pitt  (Percy)  composed  incidental 
music  to  Stephen  Phillips's  "  Paolo 
and  Prancesca,"  1902,  overture  to 
"  Taming  of  the  Shrew,"  the  sym- 
phonic poem  "Le  sang  des  Crespus- 
cules,"  "The  Blessed  Damozel "  for 
soli,  chorus,  and  orchestra,  a  sinfoni- 
etta  for  the  Birmingham  Festival, 
1906;  became  organist  at  Queen's 
Hall,  1896,  general  adviser  and  assist- 
ant conductor,  Covent  Garden,  London, 


1902;  pupil  of  Reinecke,  Judassohn, 
Eheinberger.  B.  Jan.  4,  1870,  Lon- 
don;   add.  London. 

Pittman  (Josiah)  played  organ; 
cembalist  at  London  opera  houses ;  ar- 
ranged opera  in  piano  score;  wrote 
"The  People  in  Church,"  1858;  pupil 
of  Goodman,  S.  S.  Wesley,  Moscheles. 

B.  Sept.  3,  1816;  d.  April  23,  1886, 
London. 

Pittrich  (G.  Washington)  com- 
posed the  one-act  opera  "Marga,"  Dres- 
den, 1894;  clarinet  concerto;  became 
conductor  Cologne  Opera,  1899;-  pupil 
of  Dresden  Conservatory.  B.  Feb.  22, 
1870,  Dresden;    add.  Cologne. 

Pittsburgh  Orchestra  was  estab- 
lished, 1896,  by, the  Art  Society  of 
Pittsburgh.  There  was  formed  from 
among  the  directors  of  the  Art  Society 
an  "  Orchestral  Committee "  which 
controlled  the  affairs  of  the  orchestra 
during  its  12  years'  existence.  The 
orchestra  was  "  permanent,"  the  musi- 
cians being  engaged  for  the  season 
under  contract  to  give  it  their  entire 
time.  During  the  first  four  seasons  10 
pairs  of  concerts  were  given  in  Pitts- 
burgh; during  the  five  following  sea- 
sons 18  pairs  were  given;  latterly  15 
pairs  have  been  given.  At  the  close  of 
the  season  of  1906-7,  724  concerts  had 
been  given,  350  in  Pittsburgh,  the  rest 
on  tour.  The  first  "Orchestra  Com- 
mittee "  consisted  of  Beveridge  Web- 
ster, chairman,  John  Caldwell,  Thomas 

C.  L.  Lazear,  W.  C.  Lyne,  and  Charles 
W.  Scovel.    The  first  guarantors  were 

D.  Herbert  Hostetter,  H.  0.  Frick, 
John  B.  Jackson,  William  McConway, 
William  L.  Abbott,  C.  B.  Shea,  B. 
Frank  Weyman,  Reuben  Miller,  E.  M. 
Ferguson,  J.  C.  Holmes,  Thomas  C. 
Jenkins,  J.  E.  Schwartz,  C.  L.  Magee, 
Robert  Pitcairn,  Durbin  Home,  J.  J. 
Vandergrift,  George  Westinghouse, 
Jr.,  William  N.  Frew,  Joseph  Albree, 
Charles  B.  McLean,  Joseph  T.  Speer, 
and  Edward  A.  Woods.  The  orchestra 
has  had  three  conductors:  Freder- 
ick Archer,  1896-98;  Victor  Herbert, 
1898-1904;  Emil  Paur,  1904-7.  Mr. 
Paur  was  elected  conductor  for  an- 
other term  of  three  years  from  1907 
to  1910.  The  sale  of  season  tickets  for 
the  season  of  1907-8  was  the  largest 


PIU 


505 


PIZZICATO 


in  many  years.  The  orchestra  com- 
mittee in  1908  was:  J.  I.  Buchanan, 
chairman;  J.  B.  Shea,  Wm.  MoCon- 
way,  Edwin  Z.  Smith,  James  H.  Park, 
and  Wm.  C.  Hamilton.  Following  ia 
a  list  of  guarantors  for  the  seasons 
1907-10.  Each  guarantor  assumed 
$1000  yearly  for  the  three  years,  thus 
making  a  reserve  fund  of  $44,000  each 
year  out  of  which  any  deficit  may  be 
paid:  Louis  T.  Brown,  J.  I.  Bu- 
chanan, Dallas  C.  Buyers,  Harmar  D. 
Denny,  Dispatch  Publishing  Company, 
Herbert  Du  Puy,  John  Eaton,  J.  B. 
Finley,  William  Flinn,  W.  N.  Frew,  J. 
M.  Guflfey,  Robert  C.  Hall,  S.  Hamil- 
ton, H.  J.  Heinz,  D.  Herbert  Eostetter, 
John  B.  Jackson,  T.  Clifton  Jenkins, 
B.  F.  Jones,  Jr.,  Julian  Kennedy, 
G€orge  Lauder,  G.  M.  Laughlin,  James 
H.  Lockhart,  J.  M.  Lockhart,  WUliam 
E.  Lincoln,  F.  T.  F.  Lovejoy,  A.  W. 
Mellon,  R.  B.  Mellon,  W.  L.  Mellon, 
Joseph  H.  Moore,  William  McConway, 
J.  R.  McCune,  F.  F.  Nicola,  George  T. 
Oliver,  James  H.  Park,  H.  K.  Porter, 
Henry  R.  Rea,  J.  H.  Reed,  J.  B.  Shea, 
W.  P.  Snyder,  D.  T.  Watson,  George 
Westinghouse,  B.  F.  Weyman,  Edward 
A.  Woods,  and  Charles  H.  Zug.  All  the 
concerts  in  the  regular  "  home  series  " 
were  given  in  Carnegie  Iffusic  Hall. 
In  1908,  however,  an  innovation  was 
made  and  the  afternoon  concerts  held  in 
Exposition  Dlusic  Hall.  This  made 
possible  an  attendance  from  a  larger 
area  of  population.  During  the  last 
two  seasons  occasional  evening  concerts 
were  given  down  town  at  popular 
prices.  Saturday  evening  concerts 
were  added  'for  those  weeks  when  a 
regular  pair  of  concerts  was  not  given. 

Piu.     It.   More. 

Pius  X  deserves  a  place  in  this 
work  because  of  his  important  decree 
requiring  the  restoration  of  the  Gre- 
gorian Song  in  the  services  of  the 
Roman  Catholic  Church,  and  the  ap- 
pointment of  a  Papal  Commission, 
1904,  to  prepare  a  new  OflScial  Edition 
of  liturgical  music;  sweeping  reforms 
which  mean  greater  dignity  and  solem- 
nity to  the  services  of  the  church  here- 
after. Grandson  of  a  soldier  in  the 
Papal  army,  until  elevated  to  the 
papacy,  his  whole  life  was  spent  in 


Northern  Italy.  He  studied  at  Treviso 
and  Padua,  was  ordained  to  the  priest- 
hood in  1858,  and  in  1875  was  made 
chancellor  of  his  diocese  and  vicar 
capitular.  In  1884  he  was  nominated 
bishop  of  Mantua  by  Pope  Leo  XIII, 
and  in  1893  became  Cardinal  and 
Patriarch  of  Venice.  The  Italian  gov- 
ernment claimed  the  right,  as  succes- 
sors of  the  Venetian  Republic,  to  nom- 
inate the  patriarch,  but  protests  were 
not  availing, .  and  Giuseppe,  Cardinal 
Sarto,  was  soon  so  popular  with  the 
Venetians  that  the  opposition  of  the 
government  was  withdrawn.  Aug.  4, 
1903,  after  six  fruitless  ballots  in  the 
Sacred  College,  he  was  chosen  as  Su- 
preme Pontiff  in  succession  to  Leo 
XIII,  and  took  the  name  of  Pius  in 
token  of  his  determination  to  main- 
tain the  policy  of  his  predecessors 
toward  the  Italian  government.  His 
Holiness  has  always  been  a  patron 
of  the  arts,  and  among  his  proteges 
was  Don  Luigi  Perosi,  the  priest  and 
composer.  B.  Ries  in  Treviso,  1835; 
add.  Rome. 

Piva.    It.    Bagpipe. 

Pixis  (Friedrieh  Wilhelm)  com- 
posed sonatas  and  trios  for  piano, 
organ  music;  played  organ;  pupil 
of  Abb€  Vogler  in  Mannheim,  1770. 
D.  after  1805.  Priedrich  Wilhelm 
played  violin;  became  professor  in 
the  conservatory  and  chapelmaster  of 
the  theatre  at  Prague;  pupil  of  Bit- 
ter, Luigi,  Franzel,  and  of  Viotti.  B. 
1786,  Mannheim;  son  of  FRIEDRICH 
WILHELM;  d.  Oct.  20,  1842,  Prague. 
Joh.ann  Peter  composed  for  and 
played  piano;  composed  "Bibliana," 
1831,  and  other  dramatic  works; 
taught  in  Paris  with  great  success; 
pupil  of  his  father,  the  elder  FRIED- 
RICH  WILHELM.  B.  1788,  Mann- 
heim; d.  Dec.  22,  1874,  Baden.  Pran- 
zilla  Oohringer  sang  mez.  sop.  in 
opera;  pupil  of  JOHANN  PETER, 
who  had  adopted  her.  Paccini's 
"  Saffo  "  was  composed  for  her.  B. 
1816,  Liohtenthal,  Baden;  retired  on 
her  marriage  to  Sig.  Minofrio. 

Pizz.  Abbreviation  of  PIZZICATO. 

Pizzicato.  It.  "Pinched."  Indi- 
cates that  the  strings  are  to  be 
plucked,  not  bowed.   It  is  contradicted 


FLACIDAMENTE 


50'6 


FLAIN-SOira 


by  Arco  or  col  Aroo,  meaning  that  the 
use  of  the  how  is  to  be  resumed. 

Flacidamente.  It.  Placidly,  peace- 
fully. 

Placido.  It.  Placid,  quiet,  peace- 
ful. 

Flagal.  Church  MODES  a  fourth 
below  the  Authentic  modes. 

Flagal  Cadence.  CADENCE  in 
which  the  tonic  chord  is  preceded  by 
the  Subdominant. 

Flaglaulos.  Or.  Cross  or  common 
FLUTE. 

Flaidy  (Iiouls)  became  celebrated 
as  piano  teacher;  wrote  "  Technische 
Studien";  pupil  of  Agthe  (piano) 
and  Haase  (violin)  ;  from  1843  at- 
tached to  the  Leipsic  Conservatory.  B. 
Nov.  28,  1810,  Wermsdorf,  Saxony; 
d.  Mar.  3,  1874,  Grimma. 

Flain  Chant.     PLAIN-SONG. 

Flain  Song  is  the  unisonous,  un- 
measured music  which  has  been  em- 
ployed in  the  ritual  of  the  Christian 
church  since  the  earliest  times,  and, 
according  to  modern  theories,  is  de- 
rived from  that  traditional  music  of 
the  Jewish  people  which  was  used  in 
the  liturgy  of  the  Temple  at  Jerusa- 
lem until  its  destruction.  The  simi- 
larity of  the  chants  still  employed  in 
the  synagogues  with  those  brought  to' 
gether  in  the  great  AMBROSIAN  and 
GREGORIAN  collections  strengthens 
this  theory,  but  aside  from  historic  in- 
terest, Plain-Song  has  again  become 
a  vital  study  of  the  musicians  of 
the  Roman  Catholic  and  Anglican 
churches;  for  in  the  one,  a  reforma- 
tion authorized  by  the  Pope  is  being 
carried  on  by  the  Order  of  St.  Bene- 
dict, and  in  the  other,  for  the  past 
half  century,  there  has  been  a  tendency 
to  return  to  the  ritualistic  music  pre- 
served, notably  in  the  Sarum  service 
books;  in  other  words,  the  Gregorian 
music  as  introduced  into  England  by 
St.  Augustine.  If  it  be  assumed  that 
Plain  Song  has  been  handed  down 
through  the  Jewish-Christian  congre- 
gations of  Apostolic  days  and  that  it 
was  of  Templar  origin,  then  it  has 
berved  for  the  musical  expression  of 
man's  most  sacred  feelings  for  nearly 
3000  years.    It  is  certain  that  in  the 


time  of  St.  Basil  of  Neo  Cesarea,  363 
A.  D.,  the  custom  "  of  singing  psalms 
together  "  was  general,  not  only  in  the 
Church  of  Antioch,  but  throughout 
Asia  and  Africa,  for  when  St.  Basil 
was  accused  of  using  his  power  as 
bishop  to  introduce  music  as  a  new  de- 
vice in  the  service  of  God,  he  testified 
to  the  facts.  A  Jewish  origin  for  the 
bulk  of  the  earlier  collections  of  Plain- 
Song  might  likewise  account  for  the 
peculiarity  of  the  church  MODES  in 
adhering  to  the  Diatonic  Genera  of 
Greek  Music  to  the  exclusion  of  the 
Chromatic  and  Enharmonic  Genera 
which  completed  their  system.  The 
earliest  versions  of  Plain-Song  melo- 
dies, though  noted  with  Neumes 
and  Accents,  wer^  necessarily  handed 
down  from  generation  to  generation  of 
churchmen,  with  the  additional  safe- 
guard of  tradition.  The  form  had 
reached  its  highest  perfection  before 
the  close  of  the  14th  century,  and  the 
energies  of  churchmen  to-day  are  being 
devoted  to  the  restoration  of  this 
music  as  it  was  prior  to  the  corrup- 
tions of  the  15th,  16th,  and  17th  cen- 
turies. The  Benedictines  of  Stanbrook 
have  published  a  "  Grammar  of  Plain- 
Song."  For  deeper  study  see  the 
"  Paleographie  Musicale,"  issued  by 
the  Benedictines  of  Solesmes,  "The 
Elements  of  Plain-Song,"  by  the 
Plain  Song  Society;  "Einfuhrung  in 
die  Gregorienische  Melodien,"  Dr. 
Wagner,  Eng.  trans,  of  Part  I;  the 
works  of  Gerbert,  de  Coussemaker,  and 
Abbe  Migne,  and  especially  the  works 
of  Dom  Joseph  POTHIER,  O.S.B. 

Plain-Song  and  Mediaeval  IVEusic 
Society  was  founded,  London,  1888, 
as  a  centre  for  research,  for  the  publi- 
cation of  facsimiles  of  manuscripts, 
foreign  works  of  importance,  and 
adaptations  of  Plain-Song  to  English 
use,  to  catalogue  all  Plain-Song  and 
measured  music  in  England  antedat- 
ing the  17th  century,  and  to  give 
vocal  concerts  illustrative  of  Plain- 
Song  and  Mediaeval  Music.  The 
Earl  of  Dysart  was  president,  and  the 
vice-presidents  were:  The  Bishop  of 
Argyll,  the  Abbot  of  Farnborough, 
Viscount    Halifax,    Sir   Eichman   B. 


FLAINTE 


5or 


PLEYEL 


Bacon,  Bart.,  Dr.  Sir  F.  J.  Bridge,  the 
Very  Rev.  Vernon  Staley,  and  Prof.  H. 
E.  Wooiridge.  Among  the  valuable 
volumes  already  published  are  the 
Sarum  Gradual  and  Antiphonale. 

Plainte.    Fr.    Elegy,  lament. 
_  Flaisanterie.       Dances    or     other 
lively  melodies,  woven  together  as  a 
kind  of  concerto  for  solo  instrument. 

Planche  (James  Bobinson)  wrote 
libretti  for  Bishop's  "Maid  Marian" 
and  von  Weber's  "  Oberon  " ;  managed 
Vauxhall  Gardens,  1826-27.  B.  Lon- 
don, Feb.  27,  1796;  d.  May  30,  1880, 
London. 

Plangon  (Pol  Henri)  sang  bar.  in 
opera,  debut  as  St.  Bris,  Lyons,  1877 ; 
in  1883  at  the  Paris  Opfira  as  Mephis- 
topheles,  later  at  the  Metropolitan 
Opera  House  in  New  York,  and  Covent 
Garden,  London,  1908,  as  the  Priest  in 
"  Aida,"  the  Landgrave,  Henry  the 
Fowler,  Pogner,  etc.;  possessed  dra- 
matic ability  and  fine  stage  presence; 
and  was  equally  admirable  as  a  bal- 
lad singer;  pupil  of  Dupres  and 
Sbriglia.  B.  Fumay,  Ardennes,  June 
12,  1854;    add,  Paris. 

Planque.  Fr.  Played  as  a  chord, 
opposed  to  arpeggio.    . 

Flanquette  (Robert)  composed  the 
highly  successful  comic  opera  "Les 
cloches  de  Comeville "  ( "  Chimes  of 
Normandy"),  "Paul  Jones,"  "Rip 
van  Winkle,"  "Nell  Gwynne,"  "The 
Old  Guard,"  "La  Cooarde  Tricolore," 
"Le  Talisman,"  "Panurge,"  "Mam'- 
zelle  Quat'  Sous,"  and  other  dramatic 
works;  in  early  life  composer  of 
songs  for  the  CafS  concerts;  pupil  of 
the  Paris  Conservatoire.  B.  July  31, 
1848,  Paris;    d.  Jan.  28,  1903,  Paris. 

Flantade  (Charles  Henri)  com- 
posed "  Palma,"  "  Zoe,"  "  Le  Marl  de 
circonstance "  and  other  operas.  Re- 
quiem, Te  Deum,  motets,  five  masses; 
became  chapelmaster  to  Queen  Hor- 
tense  of  Holland;  taught  Paris  Con- 
servatoire; made  chevalier  of  the 
Legion  of  Honor,  1814,  by  Louis 
XVIII.  B.  Oct.  14,  1764,  Pontoise;  d. 
Dec.  18,  1839,  Paris. 

Plants  (Frangols)  played  piano  in 
successful  tours  of  Europe;  pupil  of 
the  Paris  Conservatoire,  where  he  won 
the  first  piano  prize,  1850.    B.  Mar.  2, 


1839,  Orthez,  Basses  Pyrenees;  d. 
Pfirigueux,  1898. 

Planxty.  Means  "Lament,"  al- 
though sometimes  the  name  of  lively 
Welsh  harp  tunes. 

Playford  (John)  published  music 
in  London,  beginning  with  "  The  Eng- 
lish JDanoing  Master,"  1651  to  1684. 
B.  1623,  Norwich;  d.  about  1686,  Lon- 
don. Henry  continued  the  business 
established  by  his  father,  JOHN,  and 
published  many  works  of  Purcell.  B. 
May  5,  1657;  d.  about  1710.  John, 
Jr.,  published  music  in  London.  B. 
1655,  Stanmore  Magna,  nephew  of 
JOHN;    d.  1886. 

Pleasants  (Thomas)  played  organ, 
became  master  of  choristers,  Norwich 
Cathedral.    B.  1648;   d.  Nov.  20,  1689. 

Plectrum.  Small  instrument  of 
metal,  shell,  ivory,  or  hard  wood  em- 
ployed in  striking  or  plucking  the 
strings  of  the  mandolin  or  zither.  The 
quill,  leather,  or  metal  jacks  by  which 
the  strings  of  harpsichord  and  clavier 
were  plucked  were  plectra,  and  the 
lyre  was  played  with  a  plectrum. 

Plein  Jen.     Fr.    With  full  power. 

Fleyel  (Ignaz  Joseph)  founded 
the  piano  business,  now  known  as 
PLEYEL  WOLFF  ET  CIE;  published 
the  first  complete  set  of  Haydn's  string 
quartets ;  was  himself  among  the  most 
prolific  of  composers,  having  been  the 
author  of  29  symphonies,  five  books  of 
quartets,  the  opera  "Iphigenia  in 
Aulide,"  Naples,  1785,  and  a  prodi- 
gious quantity  of  smaller  works.  The 
favourite  pupil  of  Haydn,  he  became 
chapelmaster  at  Strasburg  Cathedral, 
1789,  conducted  opposition  concerts  to 
those  of  Salomon,  London,  1792,  and 
settled  in  Paris,  1800.  B.  Ruppers- 
thal.  Lower  Austria,  June  1,  1757 ;  d. 
Nov.  14,  1831,  near  Paris.  Camille 
succeeded  to  the  business  established 
by  his  father  IGNAZ  JOSEPH;  com- 
posed ;  pupil  of  his  father  and  Dussek. 
B.  Strasburg,  Dec.  18,  1788j  d.  May 
4,  1855,  Paris.  Harie  Eelicit€  Denise 
lioke  played  piano  with  distinguished 
success  in  the  chief  music  centres  of 
Europe;  pupil  of  Herz,  Mosoheles, 
Kalkbrenner;  admired  by  Mendels- 
sohn and  Liszt,  loved  by  Berlioz; 
taught  at  Brussels  Conservatoire.    B, 


PLEYEL    WOLFE 


508 


POISE 


July  4,  1811;  m.  CAMILLE;  d.  Mar. 
30,  1875,  near  Brussels. 

Fleyel  Wolff  et  Cie  manufacture 
pianos  in  Paris,  where  the  business 
was  established  in  1807  by  IGNAZ 
JOSEPH  PLEYEL,  through  whom  it 
passed  to  his  son  Camille,  and  in  1855 
to  August  Wolff.  Chopin's  Paris  de- 
but took  place  at  Pleyel's  rooms.  '  The 
head  of  the  house  in  1908  was  M.  A. 
Wolflf. 

Plica.  L.  "Fold."  Obsolete  orna- 
ment described  in  the  reprints  of  6er- 
bert  and  de  Coussemaker. 

Plunkett  (Catherine)  was  one  of 
the  earliest  professiona.1  violinists  of 
her  sex,  and  gave  successful  concerts 
in  Dublin  and  London,  1742-44.  B. 
1725,  Dublin;    d.  after  1744. 

Pliires  ex  Tina.  L.  "  Many  from 
one."    One  name  for  CANON. 

Plus.     Fr.     More. 

Pneuma.     NEUMA. 

Pneumatic  Bellows.  Wind  bel- 
lows. 

Pneumatic  Organ.  One  in  which 
the  wind  pressure  is  maintained  by 
bellows  or  fans,  as  opposed  to  the 
Hydraulicon,  where  the  pressure  was 
obtained  by  water  power. 

Pocetta.    /*.    POCHETTE  or  KIT. 

Pochette  or  Poche.  Fr.  Small 
fiddle  used  by  dancing  masters,  so 
called  from  being  carried  in  the 
pocket.    KIT. 

Pochette.    It.    "A  little." 

Pockrich  (Richard)  gave  HAR- 
MONICA concerts  in  Dublin,  1743-44. 
B.  1690,  Derylusk,  Ireland;  d.  1759, 
London. 

Poco  a  Poco.  /*.  "  Little  by 
little." 

Poggiato.  /*.  Dwelt  upon  or 
leant  upon. 

Poglietti  (Alessandro)  composed 
12  organ  Ricercari,  a  suite  on  the 
Hungarian  rebellion  of  1671,  interest- 
ing as  an  early  bit  of  PROGRAMME 
MUSIC;  songs,  works  for  clavier  and 
organ;  was  organist  at  the  Vienna 
Imperial  chapel,  1661-83,  and  a 
Count  Palatine.  Killed,  1683,  during 
the  siege  of  Vienna,  by  the  Turks. 

Pohl  (Carl  Ferdinand)  wrote 
"  Mozart  und  Haydn  in  London,"  and 
a  history  of  the  Vienna  Gresellscbaft 


der  Musikfreunde  and  its  Conserva- 
tory, of  which  institution  he  became 
archivist  and  librarian,  1866.  B. 
Sept.  6,  1819,  Darmstadt;  d.  April  28, 
1887,  Vienna. 

Pohl  (Dr.  Richard)  wrote  books 
on  Wagner,  Liszt,  Berlioz,  and  his 
own  biography,  music  criticism; 
championed  Wagner,  as  an  editor  of 
the  "  Neue  Zeitschrift  fur  Musik."  B. 
Sept.  12,  1826,  Leipsic;  d.  Dee.  17, 
1896,  Baden-Baden. 

Pohlenz  (Christian  August) 
composed  part  songs,  piano  polo- 
naises; was  cantor  of  the  Thomas- 
schule,  director  of  the  Leipsic  Musik- 
verein  and  Singakademie;  played 
organ  Thomaskirche.  B.  Saalgast, 
Lower  Austria,  July  3,  1790;  d.  Mar. 
10,  1843,  Leipsic. 

Pohlig  (Carl)  composed  the  sym- 
phonic poem  in  four  movements  "  Per 
Aspera  ad  Astra,"  Stuttgart,  1902; 
became  conductor  of  the  PHILADEL- 
PHIA ORCHESTRA,  1907.  Pupil  of 
Franz  Liszt  at  Weimar,  he  accom- 
panied that  master  in  his  tripart  so- 
journs at  Rome,  Weimar,  and  Buda- 
pest, with  E.  d' Albert  and  Reisenauer, 
and  then  made  some  tours  as  piano 
virtuoso.  Abandoning  the  piano  for 
the  orchestra,  he  became  chapelmaster 
at  Gratz,  then  joined  Gustav  Mahler 
at  the  Vienna  Imperial  Opera,  also 
conducted  at  Covent  Garden,  London, 
and  at  Bayreuth,  then  became  conduc- 
tor of  the  symphony  concerts  at  Co- 
burg  and  Stuttgart,  1900,  and  also 
appeared  as  conductor  at  the  Berlin 
Philharmonic  Society's  concerts,  and 
at  the  Schiller  Centenary.  B.  Feb.  10, 
1864,  Teplitz,  Bohemia;  add.  Phila- 
delphia. 

Poi.  It.  "Then,"  as  Piano  Poi 
Eorte,    "soft,    then    loud." 

Point.     Dot. 

Point  de  Repos.    .Fr.    Pause. 

Point  d'Orgue.  Fr.  "  Organ 
Point,"  or  PEDAL  POINT. 

Pointe.     Fr.     Dotted. 

Poise  (Jean  Alexandre  Ferdi- 
nand) composed  "  Bonsoir  Voisin," 
1853,  "Le  Roi  Don  Pedre,"  Op«ra 
Comique,  1857;  "L' Amour  Medecin," 
1880,  "  Le  Medecin  malgrfi  lui,"  1887, 
and  other  popular  operas,  the  oratorio 


POITRllIB                   509  PONCHIELLl 

"Cecilie,"  Dijon,  1888;     pupil  of  the  which    he    became    principal,    1890; 

Paris  Conservatoire.    B.  June  3,  1828,  pupil  of  Bohm  and  Preyer.     B.  July 

Nimes;  d.  May  13,  1892,  Paris.  23,  1832,  Budapest;   d.  Nov.  14,  1900, 

Poitrine.    Pr.    Chest.  London. 

_   FolacQA.    It.    "Polish."    Vocal  or  Polly.     John  Gay's  ballad  opera, 

instrumental  compositions  in  the  style  written  as  a  second  part  to  the  BEG- 

of  the  Polonaise.  GAR'S  OPERA,  was  first  performed, 

Polaroll  or  PoUarolo  (Carl  Fran-  1777,  at  the  Haymarket  Theatre,  Lon- 

cesco)   composed   "  Roderico,"   Milan,  don,    having   been    forbidden   by   the 

1684;   "  Semiramide,"  Venice,  1714,  in  Lord    Chamberlain    when    originally 

all  68  operas,  three  oratorios,  church  placed  in  rehearsal.  • 

music;      vice     chapelmaster     in     St,  Polo.    Spanish  gypsy  dance,  accom- 

Mark's,  Venice,  where  he  was  a  choris-  panied  by  singing, 

ter  in  boyhood.    B.  1653,  Brescia;    d.  Polonaise.      Stately    Polish   dance 

1722_,     Venice.       Antonio     composed  or  march  in  moderate  3-4  time.    It  is 

"  Aristeo,"    Venice,    1700,    and    other  said  to  have  originated  either,  in  the 

operas,    son    and    pupil    of    CARLO  Polish    Christmas    carols    or    in    the 

FRAKCESCO,    and    chapelmaster    at  march  which  gradually  developed  into 

St.  Mark's,   1740.     B.   1680,  Venice;  a   dance,   which   formed   part   of  the 

d.  May  4,  1746,  Venice.  ceremonial    with    which    the    ancient 

Pole   (Dr.   William)  composed  an  nobles  celebrated  the  election  of  their 

eight-part    motet,    Chester    Festival,  kings. 

1882,  Psalm  c;    wrote  "The  Philos-  Polycephalus.      One   of    the 

ophy  of   Music,"   etc.;     professor   of  NEXJMES. 

civil  engineering.     B.  April  22,  1814,  Polychord.        Ten-stringed  instru- 

Birmingham;    d.  Dec.  30,  1900,  Lon-  ment  not  unlike  a   doublebass  with- 

don.  out  its  neck,  invented  by  F.  Hillmer, 

Polka.     Lively  dance  in  2-4  time  Leipsic,  1799. 

and  of  universal  popularity,  said  to  Polyeuote.       Gaetano     Donizetti's 

have   been   invented,    1830,   by   Anna  opera,  to  book  by  Nourrit,  based  on 

Slezak,  a  farm  servant  at  Elbeteinitz,  Comeille's  tragedy,  was  intended  for 

Bohemia.  performance,  1838,  at  Naples,  but  for- 

PoUedro      (Oiovanni      Battista)  bidden  by  the  Censor,  and  was  first 

composed  a  mass  with  orchestra,  sin-  performed  at  the  Paris  Grand  Opera 

foni    pastorale,    miserere,    two    violin  as  "  Les  Martyrs,"  trans,  by  Scribe, 

concertos,    chamber     music;      played  April  10,  1840.     Charles  F.  Gounod's 

violin,  became  director  general  of  the  five-act  opera,  to  book  by  Barbier  and 

Turin  royal  orchestra.     B.  June   10,  Caxrg,    was    first    performed   Oct.    7, 

1781,  Piova  near  Turin;    d.  Aug.  15,  1878,  at  the  Paris  Op«ra. 

1853,  Piova.  Polymorphous.       "Many-shaped," 

Polliai    (Edward)    sang  ten.   and  said  of  invertible  works, 

later  bar.  in   opera;    became   impre-  Polyphony.     Or.     "Many-voiced,"' 

sario    of    the    Hamburg    Opera.      B.  the  general  term  for  music  in  contra- 

Cologne,    Dec.    18,    1838;     real   name  puntal   style,  where   the  blending  of 

Pohl;   m.  Bianca  Bianchi;   d.  Nov.  27,  several  distinct  melodies  is  aimed  at, 

1897,  Hamburg.                                      '  rather    thah    the    construction    of    a 

Pollini      (Francesco      Giuseppe)  single  melody  with  harmonized  accom- 

composed  a  Stabat  Mater,  piano  mu-  paniment    for   other    instruments    or 

sic;   was  first  to  viTite  piano  music  on  voices, 

three  staves;    played  piano;    taught  Pommer.     BOMBARDO. 

Milan;  pupil  of  Mozart  and  Zingareli.  Pomposamente.    It.  Pompously. 

B.  1763,  Lubiano,  Illyria;  d.   Sept.  17,  Pomposo.     /*.   Pompous. 

1846,  Milan.                      ,  Ponchielli    (Amilcare)    composed 

Pollitzer   (Adolphe)   composed  10  the  operas  "La  GIOCONDA,"   1876, 

caprices    for    violin ;     taught    violin  Milan ;     "  II    Figliuol    prodigal,"    La 

Royal  Academy  of  Music,  London,  of  Scala,  Milan,  Dec.  26,  1880;  "Marion 


PONIATOWSKI 


510        POPULAB    CONCERTS 


Delorme,"  Mar.  17,  1885,  La  Seala, 
Milan;  became  chapelmaster  at  Ber- 
gamo, 1881.  For  11  years  ending  1854, 
Ponchielli  was  a  pupil  of  the  Milan 
Conservatory,  and  in  1856  his  first 
opera,  "  I  promessi  sposi,"  was  given 
a±  Cremona.  His  next  works  were 
"La  Savojarda,"  "Eoderico,"  "Bert- 
rand"  and  "La  Stella  del  Monte." 
"  Promessi  Sposi,"  when  performed  at 
the  Teatro  dal  Verme,  Milan,  1872, 
awakened  a  more  than  local  interest 
in  the  composer,  and  won  a  commis- 
sion for  a  ballet  for  La  Scala.  The 
result  was  the  very  successful  "Le 
due  Gemelle,"  1873,  which  was  pub- 
lished by  Eioordi.  Next  in  order  came 
the  ballet  "  Clarina,"  1873,  "  II  par- 
latore  eterno,"  1873,  a  comedy,  and 
the  three-act  piece  "  I  Lituani,"  1873, 
revised  and  again  produced  10  years 
later  as  "  Alduna."  In  1875  his  can- 
tata for  the  reception  of  the  remains 
of  Donizetti  and  Mayr  was  performed 
in  Bergamo.  "  I  Mori  di  Valenza," 
said  to  have  been  composed  1878-79, 
was  discovered  in  1902  by  the  com- 
poser's son,  but  the  last  important 
work  in  chronological  order  waS  prob- 
ably the  hymn  in  memory  of  Gari- 
baldi, 1882.  B.  Sept.  1,  1834,  Pa- 
derno  Fasolaro,- Cremona ;  d.  Jan.  16, 
1886,  Milan. 

Poniatowski  (Prince  Joseph 
nCichael  Xavier  Francis  John)  com- 
posed "Kuy  Bias,"  "  Maiek  Adel," 
"La  Contessa,"  and  other  operas; 
sang  ten.,  debut  in  the  name  part  of 
his  "  Giovanni  di  Procida,"  La  Per- 
gola, Florence,  1838;  made  Senator 
by  Napoleon  III,  whom  he  accom- 
panied in  exile  to  England;  nephew 
of  the  Prince  P.,  who  was  Marechal  of 
France  under  Napoleon  I.  B.  Feb.  20, 
1816,  Rome;  d.  July  3,  1873,  Chisel- 
hurst;  Eng. 

Pons  (Jose)  composed  oratorios, 
church  music;  became  chapelmaster 
at  Gerona  Cathedral.  B.  1768,  Ger- 
ona,  Catalonia;    d.  1818,  Valentia. 

Ponte,  da  (Lorenzo)  wrote  books 
for  Mozart's  "  NOZZE  DI  FIGARO," 
"DON  GIOVANNI"  and  "  COSI 
FAN  TUTTI"  while  Latin  secre- 
tary to  Emperor  Joseph  II,  and  poet 
to  the  court  theatre,     Ponte  was  of 


Jewish  parentage,  but  spent  five 
years  in  the  theological  seminary  of 
Canada,  until  youthful  escapades  com- 
pelled his  departure  for  Germany. 
On  losing  the  Emperor's  fg,vour,  he 
settled  in  London  as  poet  and  assist- 
ant manager  at  the  Italian  opera,  but 
a  business  venture  soon  involved  him 
to  such  an  extent  that  he  was  obliged 
to  go  to  New  York  to  avoid  his  credit- 
ors. He  was  interested  in  the  operatic 
enterprises  of  Manuel  Garcia  and 
others,  made  several  attempts  to  go 
into  business  in  New  York,  Eliza- 
beth, N.  J.,  and  Sunbury,  Pa.,  with 
utter  failure,  but  secured  employment 
as  teacher  of  Italian  literature  at 
Columbia  College.  B.  Mar.  10,  1749, 
Ceneda,  Venice;  d.  Aug.  17,  1838,  New 
York. 

Ponticello.  It.  "Little  bridge." 
Bridge  of  instrument  of  the  viol  fam- 
ily;   BREAK  in  the  voice. 

Pontifical  Choir.  That  of  the  SIS- 
TINE   CHAPEL. 

Pont-Neuf .  Paris  bridge  on  which 
ballads  were  sold;  hence  the  ballads 
themselves. 

Poogye.     Hindoo  nose-flute. 

Poole  (Elizabeth)  sang  mez.  sop. 
in  English  operas,  touring  America, 
1839;  possessed  large  repertoire,  and 
was  an  excellent  actress,  having  been 
on  the  stage  since  childhood.  B.  April 
5,  1820,  London;  d.  Jan.  14,  1906, 
Langley,  Bucks,  Eng.  Another  singer 
named  Poole  is  referred  to  under  the 
caption  DICKONS. 

Popper  (David)  composed  a  'cello 
concerto  in  B  minor,  a  'cello  school  in 
four  volumes,  string  quartet.  Op.  74, 
and  many  solos  for  'cello;  played 
'cello  with  success  in  many  tours  of 
Europe;  taught  at  the  Budapest  Con- 
servatory from  1896;  pupil  of  Golter- 
mann  at  the  Prague  Conservatory,  and 
in  early  life  chamber  virtuoso  to 
Prince  Hohenzollern,  then  soloist  at 
the  Vienna  court  opera.  B.  Prague, 
June  18,  1846;  m.  SOPHIE  MEN- 
TER,  1872;  divorced,  1886;  add. 
Budapest. 

Popular  Concerts  were  founded  in 
London,  1859,  by  Chappell  &  Co.  as 
a  means  of  disposing  of  St.  JameS 
Hall.    At  first  there  were  miscellaner 


FOBFOBA 


511 


FOBTOGALLO 


ous  programmes,  then  chamber  music 
was  given,  and  in  1903-4  they  ceased 
to  exist. 

Forpora  (Niccolo  Antonio)  be- 
came the  world's  greatest  singing  mas- 
ter, numbering  among  his  pupils 
CAFFARELLI,  FARIKELXrl;  com- 
posed 33  to  50  operas,  six  oratorios, 
masses,  and  church  music,  12  sonatas 
for  violin  with  figured  bass,  12  can- 
tatas for  single  voice,  published  in 
London,  1735;  "six  free  fugues  for 
clavichord,"  etc.;  conducted  the  Lon- 
don Opera  in  opposition  to  Handel. 
Pupil  of  the  Naples  Conservatory  Sta. 
Maria  di  Loreto,  where  he  studied 
with  Padre  Gaetano  and  F.  Mancini, 
Porpora's  first  work  to  be  publicly 
performed  was  his  opera,  "  Basilio,  re 
di  Oriente."  Thereafter  Porpora's 
restlessness  led  him  to  Rome,  Venice, 
Vienna,  Dresden,  London,  and  again 
to  Vienna  and  Venice.  During  one  of 
his  sojourns  in  Vienna  he  had  the 
honour,  albeit  unwillingly  at  first,  of 
teaching  JOSEPH  HAYDN.  At  other 
times  he  figured  as  director  of  the 
Venice  Conservatory  of  "La  Pieta," 
and  of  the  "  Ospedaletto,"  of  the 
Naples  Conservatory  di  San  Ofrio  and 
as  chapelmaster  of  the  Naples  Cathe- 
dral and  to  the  King  of  Poland. 
"Faramondo,"  "L'Imeneo,"  "Mithri- 
date,"  and  "Annibale"  were  the 
names  of  some  of  his  most  popular 
operas,  which  for  years  dominated  the 
stage  of  every  capital  in  Europe.  B. 
Aug.  19,  1686,  Naples;  d.  1766  or 
1767,  Naples. 

Forta  (Costanzo)  composed  12 
masses  for  the  Santa  Casa  di  Loreto, 
motets,  introits,  and  madrigals,  chapel- 
master at  Onesimo,  Padua,  Ravenna 
(where  Cardinal  della  Rovero  had  es- 
tablished a  boys'  school  at  the  Santa 
Casa),  finally  returning  again  to 
Padua.  Pupil  of  Willaert  at  Venice, 
Porta  entered  the  Order  of  St.  Fran- 
cis and  devoted  practically  his  whole 
life  to  the  music  of  the  church.  B. 
1530,  Cremona;  d.  May  26,  1601, 
Padua. 

Forta,  della  (Francesco)  com- 
posed psalms,  motets,  ricercari,  villa- 
nelle;  chapelmaster  of  Milan  churches. 
B.  about  1590,  Monza;   d.  1666,  Milan. 


Fort.  Scotch  term  for  lesson  or 
instrumental   piece. 

Fortamento.  It.  A  gliding  from 
one  note  to  another;  lifting  the  voice. 

Fort  de  Voix.  Fr.  Harpsichord 
ornament. 

Fortando  la.  Voce.  /*.  Sustain- 
ing the  voice,  or  gliding  from  one 
note  to  another. 

Portative  Organ.  Portable  organ, 
which  might  be  caried  in  processions. 
,  Fortato.    It.  Lengthened,  sustained. 

Forter  la  Voix.     Pr.  PORTANDO. 

Forter  of  Havre.  Antonio  Cag- 
noni's  three-act  opera  buSa,  known 
originally  as  "  Papa  Martin,"  to  book 
by  Grhislanzoni,  was  first  performed 
Mar.  14,  1871,  at  Grenoa.  An  English 
production  by  the  Carl  Rosa  Com- 
pany followed. 

Forter  (Samuel)  composed  services, 
anthems,  chants;  played  organ  Can- 
terbury Cathedral;  in  boyhood  chor- 
ister at  St.  Paul's  and  pupil  of  Dr. 
Greene.  B.  1733,  Norwich;  d.  Dec. 
11,  1810,  Canterbury.  Bev.  Wil- 
liam. James  composed  a  service  in  D, 
anthems,   chants.     Son  of  SAMUEL. 

Forter  (Walter)  composed  madri- 
gals, motets,  and  hymns;  sang  ten. 
Eng.  Chapel  Royal;  master  of  choris- 
ters, Westminster  Abbey,  1639.  B. 
about  1595;    d.  1659,  London. 

Fortman  (Blchard)  composed  ser- 
vices, anthems,  sang  Eng.  Chapel 
Royal;  played  organ  Westminster 
Abbey,  pupil  of  Orlando  Gibbons.  D. 
after  1645. 

Fortmann  (Johann  Oottlieb) 
wrote  on  theory  and  counterpoint  and 
taught;  court  singer  and  cantor  at 
Darmstadt;  pupil  of  the  Dresden 
Kreuzschule.  B.  Deo.  4,  1739,  Ober- 
Liohtenau,  Saxony;  d.  Sept.  30, 
1798,  Darmstadt. 

Fortogallo  (SCarcos  Antonio  da 
Fonseca)  composed  the  opera  "La 
Speranza,"  Lisbon,  1807  (which  con- 
tains a  finale  since  adopted  as  the 
Portuguese  national  hymn),  "Fer- 
nando nel  Messieo,"  composed  for  Mrs. 
Billington,  Rome,  1798;  conducted 
and  managed  the  San  Carlos  Theatre, 
Lisbon,  and  from  1810  music  at  the 
court  of  the  Emperor  of  Brazil; 
founded  a  conservatory  at  Vera  Cruz, 


FOSATO 


512 


FOTHIEB 


Brazil.  Pupil  of  Borzelli  and  Orao, 
Liabon,  he  accompanied  Borzelli  to 
Madrid  and  became  accompanist  at 
the  opera  at  20,  then  visited  Italy 
as  the  protege  of  the  Portuguese  am- 
bassador to  Spain,  where  he  became 
known  as  Portogallo,  "Portugal,"  on 
the  performance  of  his  opera,  "  L'Eroe 
Cinese,"  Turin,  1788.  During  the 
next  12  years,  except  for  a  flying  visit 
to  Portugal,  when  he  was  made  royal 
chapelmaster,  he  was  busy  with 
operas  for  the  various  Italian  the- 
atres, including  "  Demofoonte,"  Milan, 
1794,  "Alceste,"  and.  "Le  Nozze  di 
Figaro,"  Venice,  1799.  In  all  he 
composed  40  operas,  18  masses  and 
other  church  music,  and  many  farces 
and  burlettas.  B.  Mar.  24,  1762,  Lia- 
bon; d.  Feb.  7,  1830,  Rio  de  Janeiro. 
Bimao  composed  church  music;  be- 
came associated  with  his  brother 
MARCOS  ANTONIO  at  the  court  of 
Brazil. 

Fosato.    It.    Quietly. 

Foaaune.  Oer.  TROMBONE;  reed 
organ  stop  of  eight  ft.  pipes  on  the 
manuals  and  16  ft.  or  32  ft.  on  the 
pedals. 

Foaement.     Fr.  Sedately,  gravely. 

Foaitlf.     Fr.    Positive. 

Foaition.  Change  of  the  position 
of  the  hand  in  fingering  a  stringed  in- 
strument. There  are  11  Positions  or 
Shifts  on  the  violin.  When  the 
ground-note  of  a  chord  is  in  its  bass, 
the  chord  is  said  to  be  in  its  original 
position. 

Foaition.      Fr.     SHIFT. 

Fositlv.     Oer.    Positive. 

Fositive  Organ.  Choir  of  station- 
ary organ. 

Foaalblle.     It.     Possible. 

Fosth.  Abbreviation  of  POSTHU- 
MOUS. 

Fost-Horn.  Metal  horn  without 
valves  formerly  used  for  signalling  on 
mail  coaches;  music  in  imitation  of 
the  posthorn. 

FoathumouB.  A  work  published 
after  the  death  of  its  author,  whether 
in  music  or  literature. 

Foatillion  of  Longjumeau. 
Adolphe  Charles  Adam's  three-act 
comic  opera,  to  book  by  De  Louven  and 
Brunswick,  was  first  performed  Oct. 


13,  1839,  at  the  Paris  Opfira  Comique 
as  "Le  Postillion  de  Longjumeau," 
but  speedily  became  popular  in  Eng- 
lish versions  in  England  and  Amer- 
ica. Chapelou,  the  postillion,  has  just 
been  married  to  the  village  belle, 
Madeleine.  Marquis  de  Courcy,  man- 
ager of  the  Paris  Op€ra,  is  compelled 
to  stop  at  Longjumeau  until  Bijou, 
the  wheelwright,  can  repair  his  car- 
riage. He  hears  Chapelou  sing,  offers 
him  a  place  in  his  company,  and 
Chapelou,  unable  to  resist  tiie  tempta- 
tion of  a  career  in  opera,  accepts, 
and  after  telling  Bijou  to  explain  to 
Madeleine .  that  he  will  be  absent  for 
a  short  time,  goes  to  Paris  with  the 
Marquis.  The  second  act  takes  place 
in  Paris.  Chapelou  has  become  a 
famous  tenor  as  St.  Phar,  and  Bijou 
has  developed  into  a  leading  bass  as 
Alcindor.  Meantime,  Madeleine,  hav- 
ing inherited  a  large  fortune,  has  as- 
sumed the  name  of  Mme.  de  la  Tour 
and  made  the  conquest  of  society  in 
the  French  capital.  The  Marquis, 
deeply  in  love  with  Madeleine,  brings 
his  company  to  rehearse  at  her 
chateau.  St.  phar  professes  to  have 
a  cold  until  he  learns  that  he  is  to 
sing  for  Mme.  de  la  Tour,  with  whom 
he  also  is  in  love,  then  he  does  his 
best.  Later  he  proposes  marriage  to 
Mme.  de  la  Tour,  but,  being  afraid 
to  commit  bigamy,  arranges  with 
Boudon,  the  chorus  leader,  to  assume 
the  rSle  of  priest.  The  Marquis,  who 
has  overheard  St.  Phar's  plans,  re- 
veals them  to  Mme.  de  la  Tour,  who 
thereupon  substitutes  a  real  priest  for 
Boudon.  The  Marquis  thereupon  lays 
an  information  against  St.  Phar,  who 
is  informed  that  he  has  actually  com- 
mitted bigamy,  and  expects  to  be 
hanged  for  his  crime.  Mme.  de  la 
Tour  adds  to  his  anguish,  when  they 
are  alone  together  in  a  dark  room, 
by  singing  first  as  Madeleine,  and 
then  as  Mme.  de  la  Tour.  In  the  end, 
however,  she  forgives  her  husband, 
and  the  play  ends  happily. 

Fostludium.  L.  Postlude,  the  vol- 
untary or  piece  played  at  the  conclu- 
sion  of   a  service. 

Fotee.     Fr.     Stave. 

Fothier   (Dom  Joseph)   was   ap- 


FOTPOTTBSI 


513 


FOZNANSEI 


pointed  by  Pope  Pius  X,  1904,  Presi-  biographical  books  on  composers;  pre- 

dent_  of  the  Commission  to  edit  and  pared  an  extensive  supplement  to  the 

publish  a  new  revision  of  the  music  of  "  Biographie   Universelle  "    of    F6tis ; 

the  Roman  Catholic  liturgy,  of  which  became    editor   of    "  Le    Menestrel," 

the    Liber    Gradualis,    Kyriale,    and  1885;    wrote  criticisms;    chevalier  of 

Commune    Sanctorum    have    already  the   Crown   of   Italy;    pupil  of   the 

appeared;    wrote  "Les  Melodies  Gre-  Paris  Conservatoire,  and  in  early  life 

goriennes,"    Tournai,    1880 ;     "  Liber  conductor,  Theatre  Beaumarchais,  and 

Gradjualis,"  Tournai,  1883,  Solesmes,  violinist,    Musard's   Orchestra.     B. 

1895;     "  Hymni    de    Tempore    et   de  Chateauroux,    Aug.    6,     1834;     add. 

Sanctis,"    Solesmes,    1885 ;     "  Proces-  Paris. 

eionale  Monasticum,"  Solesmes,  1888-  Foule.    Fr.  Movement  of  the  quad- 

93;    "Liber  Antiphonarius,"  Solesmes,  rille. 

1891;     "Liber    Responsorialis,"    So-  Pousse.      Pr.     Upstroke   of   the 

leames;   1895,  "  Variae  Preces  de  Mys-  bow. 

teriis  et  Festis,"   Solesmes,   1888  to  Powell     (llaud)    was     the    first 

1901 ;      "  Cantus     Mariales,"     Paris,  American   woman   to   become   a   suc- 

1903-6 ;   wrote  articles  for  "  Bevue  du  cessful  concert  violinist,  debut  in  Lon- 

Chant  Gregorien"  from  1892;    began  don,    1883,   later   with   the  principal 

the     publication     of     "  Paleographie  European   and   American   orchestras, 

Musicale,"  Solesmes,  1889,  carried  on  toured  Germany  with  the  New  York 

by  his  pupil,  Dom  Andr6  Mocquereau,  Arion  Society,  1892,  and  as  soloist  with 

Prior  of  Solesmes.     In  1859  he  as-  Sousa's  band;  pupil  of  William  Lewis, 

sumed  the   Benedictine  habit  in  the  Chicago,    SCHRADIECK   at   Leipsic, 

Abbey  of  Solesmes,  became  sub-prior,  DANCLA    in  Paris,  and    JOACHIM 

1862,    professor    of    theology,    1866,  in  Berlin.     B.  1868,  Peru,  111.;  add. 

prior  of  St.  Wandrille,  Seine  Inferi-  New  York. 

ure,  1895,  and  in  1898,  Abbot  of  St.  Powell  (Samuel)  published  music 

Wandrille,  Dongelberg,   Belgium.     B.  in    Dublin    from     1731.      D.    about 

Dec.    7,    1835,    Bouzemont,   Loire   et  1773. 

Cher;    add.  Dongelberg.  Powell  (Walter)  sang  counter  ten. 

Potpourri.    Fr.    Medley;    fantasia  in  Oxford  under  Handel;    chorister. 


on    popular  airs. 


then  clerk,  Magdalen  College.  B.  1697, 


Pott  (August)  composed  two  so-  Oxford;  d.  Nov.  6,  1744,  Oxford. 
natas  and  concertos  and  other  violin  Power  (James)  published  music  in 
pieces;  concertmeister  at  Oldenberg  Dublin  and  London  in  partnership 
and  later  ehapelmaster;  violin  pupil  with  his  brother  William,  issmng  the 
ofSpohr  B.  Nordheim,  Hanover,  Nov.  famous  "Irish  Melodies"  for  which 
7    1806;  d.  Aug.  27,  1883,  Graz.  THOMAS  MOORE  wrote  the  words. 

'  Potter  (Philip  Cipriano  Ham-  The  "  Letters  of  Thomas  Moore  to  his 
bly)  composed  two  books  of  24  piano  Music-publisher  James  Power,"  were 
studies  which  are  still  useful,  nine  published  in  New  York,  1854.  B. 
symphonies,  and  much  once  popular  1766,  Galway,  Ireland;  d.  Aug.  26, 
piano    music;     taught    piano.    Royal    1836,  London.  ^     ^      v 

Academy  of  Music,  London;  played  Power  (Lionel)  composed  church 
piano  and  conducted  Madrigal  Soci-  music,  wrote  on  theory,  England,  15th 
etv,  1855-70;  became  principal  Royal   century.  ' 

Academy  of  Music,  1832;  pupil  of  his  Poznanski  (Barrett  Isaac)  wrote 
father  a  piano  teacher;  debut  at  "Violine  und  Bogen"  with  lUustra- 
seven  later  pupil  of  Attwood,  Call-  tions  of  Positions;  composed  yiohn 
cott,  'and  Crotch  and  of  Foster  in  and  piano  duets;  pla:^  viohn  in 
Vienna  where  he  was  advised  by  Charleston;  settled  in  Paris  on  out- 
Beethoven.  B.  Oct.  2,  1792,  London;  break  of  Civil  War;  made  American 
d  Sent  26  1871   London.  concert  tour,   1866;    became  director 

■pouffin'f Arthur)  wrote  a  Life  of  Illinois  Conservatory;  settled  in  Lon- 
Verdi  and  many  other  critical  and  don,  1879;   pupil  of  Vieuxtemps.    B. 

33 


FBABITESTIinJS 


514- 


FKECIOSA 


Deo.  11,  1840,  Charleston,  W.  Va.;  d. 
June  24,  1896,  London. 

PP.    Abbreviation  of  PIANISSIMO. 

Praenestinus.    L.    PALESTRINA. 

Fraetorius.  The  Latin  version  of 
the  German  Schultze,  borne  as  a  sur- 
name by  many  early  German  musi- 
cians, and  meaning  "  head  man "  of 
the  community  or  praetor. 

PraetoriuB  (Bartholomaeus)  com- 
posed five-part  pavans  and  galliards, 
Berlin,    1616. 

Praetorius  (Godescalchus)  pub- 
lished  "Melodiae  Soholasticae," 
Madgeburg,  1557,  in  the  preparation 
of  which  he  was  aided  by  Martin 
Agricola;  taught  philosophy,  Witten- 
berg University.  B.  Mar.  28,  1524, 
Salzwedel;   d.  July  8,  1573. 

PraetoriuB  (Hieronymus)  com- 
posed masses,  motets,  and  other 
church  music  which  he  published  com- 
plete in  five  volumes,  1622-25,  show- 
ing remarkable  contrapuntal  skill, 
most  of  the  compositions  being  in  five 
to  20  parts  with  basso  continuo; 
played  organ  at  St.  James's  Church, 
Hamburg;  pupil  and  successor  of  his 
father  Jacob  Schultze  or  Praetorius, 
B.  Aug.  10,  1560,  Hamburg;  d.  Jan. 
27,  1629,  Hamburg.  Jacob  composed 
motets ;  played  ,  organ  St.  Peter's 
Church,  Hamburg;  pupil  of  his  father 
HIERONYMUS  and  of  Sweelinck. 
B.  Feb.  8,  1586,  Hamburg;  d.  Oct.  22, 
1651,  Hamburg. 

Praetorius  (Kichael)  composed 
"  Polyhymnia  "  to  Latin  and  German 
words  in  15  volumes  of  "Musae  Si- 
onae,"  five  volumes  of  Latin  and  11 
volumes  of  German  sacred  compositions 
and  "Musa  Aonia,"  nine  volumes  of 
secular  works;  wrote  a  monumental 
work  entitled  "  Syntagma  Musicum," 
etc.,  Wittenberg,  1615,  in  three  vol- 
umes, which  gives  a  general  survey  of 
musical  science  (except  Counterpoint, 
which  was  to  have  been  treated  in  a  4th 
volume),  descriptions  of  existing  in- 
struments, history  of  music,  etc.  Since 
the  revival  of  interest  in  contraputal 
nmsic,  the  works  of  Praetorius  are 
not  infrequently  featured  at  concerts 
of  the  Madrigal  and  Musical  Art  socie- 
ties. At  first  chapelmaster  to  the 
Duke  of  Luneberg,  he  entered  the  ser- 


vice of  the  Duke  of  Brunswick,  1604, 
as  organist,  then  became  chapelmaster 
and  secretary  and  finally  became  Prior 
of  the  Ringelheim  Monastery,  Goslar. 
B.  Feb.  15,  1571,  Kreuzberg,  Thurin- 
gia;    d.  Feb.   15,   1621,  Wolfenbuttel. 

Prager  (Ferdinand  Christian 
Wilhelm)  composed  the  overture 
"  Abellino,"  the  symphonic  prelude 
"  Manfred  " ;  wrote  "  Wagner  as  I 
Knew  Him,"  1885;  played  piano; 
taught  in  London.  B.  Jan.  22,  1815, 
Leipsic;    d.  Sept.  2,  1891,  London. 

Fralltfiller.  G-er.  Shake  or 
TRILL. 

Pratt  (John)  composed  church  mu- 
sic; edited  collection  of  anthems  as 
"Psalmodia  Cantabrigiensis,"  1820; 
played  organ  University  of  Cambridge. 
B.  1772,  Cambridge;  d.  Mar.  9,  1855, 
Cambridge. 

Pratt  (Silas  Gamaliel)  composed 
the  lyric  opera  "  Lucille,"  Chicago, 
1887;  "Zenobia,"  Chicago,  1882;  the 
cantata  with  orchestra  "  The  Last 
Inca,"  two  symphonies,  orchestral 
suites,  "  Columbus  "  cantata,  "  Anni- 
versary Overture";  helped  organize 
Chicago  Apollo  Club,  1871;  taught 
Metropolitan  Conservatory,  New  York; 
gave  lecture-recitals;  played  piano; 
pupil  of  Bendel,  Kullak,  Wuerst,  and 
Kiel.  B.  Aug.  4,  1846,  Addison,  Vt.; 
add.  New  York. 

Pratten  (Kobert  Sidney)  com- 
posed for  and  played  fiute.  B.  Jan. 
23,  1824,  Bristol;  ,  d.  Feb.  10,  1868, 
Ramsgate,  Eng. 

Preambulum.     PRBLUDIUM. 

Pre  aux  Clercs.  Louis  Joseph 
Ferdinand  Herold's  three-act  opfira 
comique,  to  book  by  Planard,  was 
first  performed  Jan.  19,  1833,  at  the 
Paris  Opera  Comique.  The  100th  per- 
formance was  given  Oct.  10,  1871. 

Precentor.  An  important  oflScer  in 
ancient  Cathedral  and  Collegiate 
churches,  where  he  formerly  ranked 
next  the  Dean  in  authority,  although 
primarily  only  the  first  of  the  singers. 
The  Precentor  was  variously  known  as 
Cantor,  Caput  Scholse,  Primioerio, 
Preohantre,  or  Grand  Chantre,  and 
Vorsaenger. 

Preciosa.  Carl  Maria  von  Weber's 
overture  and  music  to  P.  A.  Wolff's 


PRECIPITATAMENTE 


5lS 


FBESTOir 


play  was  first  performed  Mar.  14, 
1821,  at  the  Berlin  Koyal  Opera 
House.  The  story  deals  with  the 
maiden  Preciosa,  stolen  by  Gypsies 
in  childhood,  her  final  restoration  to 
her  mother,  and  marriage  to  her  noble 
and  faithful  lover,  Alonzo.  Weber 
said  that  some  of  the  Gypsy  music 
was  genuine.  A  chorus  of  Gypsies 
and  the  overture  are  still  performed. 

Precipitatamente.  It.  Precipi- 
tation, impetuousness. 

Precipitato.  It.  Precipitate,  hurried. 

Precipitazione,  con,  Precipitoso. 
Impetuously,  with  precipitation. 

Precipite.  Fr.  PRECIPITATA- 
MENTE. 

Precislone,  con.  It.  With  preci- 
sion. 

Predieri  (Luc'  Antonio)  com- 
posed operas,  oratorios,  performed  at 
the  court  of  Emperor  Charles  VI, 
whom  he  served  as  vice  chapelmaster 
and  chapelmaster,  1739-51;  chapel- 
master of  Bologna  Cathedral  and 
president  of  the  Filarmonica,  1723. 
B.  Sept.  13,  1688,  Bologna;  d.  about 
1770,   Bologna. 

Preface.     Anaphora. 

Prefectus  Choris.     PRECENTOR. 

Preghiera.     /*.     Prayer. 

Preindl  (Joseph)  composed  church 
music;  wrote  "Wiener  Tonschule " 
(Posth.),  1827,  Vienna,  a  treatise  on 
theory;  played  organ;  chapelmaster 
St.  Stephen's  Cathedral,  Vienna;  pu- 
pil of  Aibrechtsperger.  B.  Marbach 
on  Danube,  Jan.  30,  1756;  d.  Oct.  26, 
1823,  Vienna. 

Prelleur  (Peter)  composed  the  in- 
terlude, "  Philemon  and  Baucis,"  15 
hymn  tunes;  wrote  a  musical  diction- 
ary, history,  and  instruction  books; 
organist  at  St.  Albans,  London,  1728. 
D.  about  1758. 

Preludes.  Franz  Liszt's  third 
symphonic  poem  was  first  performed 
Feb.  23,  1854,  at  Weimar. 

Preludio.  /*.  Prelude  or  PRE- 
LUDIUM. 

Preludium.  L.  Prelude,  introduc- 
tory movement,  or  voluntary. 

Premiere.  Fr.  "  First,"  as  Fois, 
time;    Dessu,   first  treble. 

Prentice  (Thomas  Bidley)  com- 
posed the  cantata  "Linda,"  anthems, 


songs;  wrote  "Hand  Gymnastics," 
a  Novello  Primer;  played  organ,  or- 
ganized "  two  penny "  popular  con- 
certs; taught  piano,  Guildhall  School 
of  Music;  pupil  Royal  Academy  of 
Music.  B.  July  6,  1842,  Paslow  Hall, 
Ongar;    d.  July  15,  1895,  London. 

Prentice  Pillar.  Reginald  Somer- 
ville's  one-act  opera,  to  book  by  Guy 
Eden,  was  first  performed  Sept.  24, 
1897,  at  Her  Majesty's  Theatre,  Lon- 
don. 

Preparation.  A  dissonant  note 
was  formerly  introduced  in  a  concor- 
dant combination  as  Preparation  for 
a  discord.  Ultra  modern  composers 
frequently  employ  dissonances  with- 
out  preparation. 

Preparazione.     It.     Preparation. 

Presa.  '  Character  to  indicate  the 
entry  of  voices  in  a  canon. 

Pressante.  It.  Pressing  or  hurry- 
ing on. 

Pressenda  (Johannes  Prancis- 
cus)  made  violins  in  Turin  dated 
from  1820,  still  highly  valued  by  Ital- 
ian musicians;  pupil  of  'Storioni, 
Cremona.  B.  Jan.  6,  1777,  Lequio- 
Berria,  Alba;  d.  Sept.  11,  1854, 
Turin. 

Pressor  (Theodore)  founded  "The 
Etude,"  Philadelphia,  1883,  of  which 
he  was  editor  and  publisher  in  1908; 
25th  anniversary  celebration  described 
in  "The  Etude,"  Jan.,  1908;  com- 
posed instructive  piano  pieces;  trans- 
lated text  books,  etc.;  and  conducted 
general  music  publishing  and  mer- 
chandise business.  B.  July  3,  1848, 
Pittsburgh,  Pa.;  add.  Philadelphia. 

Pressiren.  Ger.  To  increase  the 
time. 

Prestamente.     It.     Hurriedly. 

Prestant.  Organ  open  diapason, 
16  ft.  or  8  ft.  length. 

Prestezza,  con.  It.  With  ra- 
pidity. 

Prestissimo.      /*.     Very  quickly. 

Presto.  It.  Fast;  Assai,  very 
fast. 

Preston  (John)  made  musical  in- 
struments in  London,  1774,  and  two 
years  later  added  a  publishing  busi- 
ness. About  1800  he  was  succeeded 
in  business  by  his  son  THOMAS,  and 
in  1850,  Novello  purchased  the  larger 


PftlfiVOST  516  PRIORIS 

part  of  the  stock,  and  "Preston  &  Glazounov,  and  first  performed  Oct. 
Son,"  as  the  house  was  then  called,  23,  1890,  at  the  St.  Petersburg  Im- 
ceased  to  exist.  perial  Opera. 

Prevost  (Eug&ne  Prosper)  com-  Princesse  d'Auberge.  Jan 
posed  "Esmeralda"  and  other  dra-  Blockx's  three-act  lyric  drama,  to 
matic  works,  "  L'lllustre  Gaspard,"  book  by  Nestor  de  Tiere,  was  first  per- 
Paris  Opera  Comique,  Feb  11,  1863;  formed  in  Brussel,  1896,  as  "Herberg 
became  conductor  of  the  New  Orleans  Prinses."  Gustave  Lagye  made  the 
French  opera  from  1838  and  taught  French  translation, 
with  success  until  the  outbreak  of  the  Princess  Ida.  Sir  Arthur  Sulli- 
Civil  War,  when  he  settled  in  Paris  van's  two-act  comic  opera,  to  book' by 
and  directed  the  Champs  Elysees  con-  W.  S.  Gilbert,  being  a  "  perversion  " 
certs;  pupil  of  the  Paris  Conserva-  of  Tennyson's  "Princess,"  was  first 
toire,  where  he  won  the  prix  de  performed  Jan.  5,  1884,  at  the  Savoy 
Rome,  1831,  with  his  cantata  "Bi-  Theatre,  London, 
anea  Capello."  B.  Aug.  23,  1809,  Princess  of  Kensington.  Edward 
Paris;  m.  Eleonore  Colon;  d.  Aug.  German's  two-act  comic  opera,  to  book 
30,  1872,  New  Orleans.  by  Basil  Hood,  was  first   performed 

Preyer  (Gottfried)  composed  the  Jan.  22,  1903,  at  the  Savoy  Theatre, 
oratorio  "  Noah,"  a  symphony,  masses,   London. 

three    volumes   of    "  Hymns    for   the       Principal.      Subject    of    FUGUE ; 
Orthodox     Greek     Church,"     Vienna,   open  diapason  organ  stop;    an  open 
1847;    taught  harmony  and  counter-    metal    organ    stop,    an   octave   above 
point,  Vienna  Conservatory;    chapel-    open  diapason;   chief, 
master    at    St.    Stephen's    and    vice       Frincipale.     It.    Principal, 
chapelmaster  to  the  court;    pupil  of       Principalis.     L.     The   Hypate   of 
Sechter;    played  organ.     B.  Mar.  15,    GREEK  MUSIC. 
1807,  Hausbrunn,  Lower  Austria;    d.       Principalis  Eztenta.  L.     The  Li- 
May  9,  1901,  Vienna.  chanos  Hypaton  of  GREEK  MUSIC. 

Prick  Song.  Obsolete  term  for  Principal  Theme.  Chief  subject 
written  as  opposed  to  extempore  mu-  of  a  movement  in  sonata  FORM  as 
sic.  opposed  to  a  subordinate  theme. 

Priestnall  (John)  made  violins,  vi-  Pring  (Jacob  Cubitt)  composed 
olas,  'cellos,  and  doublebasses  in  glees,  anthems,  harpsichord  pieces; 
London  from  1870.  B.  1819,  Saddle-  played  organ.  B.  Lewisham,  1771; 
worth,  near  Oldham;  d.  Jan.  18,  d.  1799,  London.  Joseph  composed 
1899,  Rochdale.  "Twenty  Anthems,"  published  1805; 

Prima  or  Primo.  /*.  "First,"  as  played  organ,  Bangor  Cathedral;  Dr. 
Buffa,  chief  comic  actress;  Donna,  Mus.,  Oxford.  B.  Jan.  15,  1776,  Ken- 
chief  woman  singer;  Viola,  first  vi-  sington;  brother  of  JACOB  CUBITT; 
ola;  Violin,  first  violin;  Basso,  d.  Feb.  13,  1842,  Bangor.  Isaac 
first  bass.  played   organ    at   Oxford.     B.    1777, 

Prlmacerlus.  L.  CANTOR  or  London;  brother  of  JACOB  CUBITT; 
PitECENTOR.  d.  1799,  Oxford. 

Primayera  (Oiovanni  Leonardo)  Printing.  Music  is  printed 
composed  masses,  Neapolitan  canzoni,  either  from  movable  types,  first  em- 
madrigals;  chapelmaster  to  the  Gov-  ployed  for  that  purpose  by'Ottaviano 
emor  of  Milan,  1573.  B.  Narletta,  PBTRUCCI,  by  the  lithographic  proc- 
Naples;    d.  after  1590.  ess,  from'  plates  engraved  on  copper 

Prime.  First  service  of  the  HO-  or  punched  in  pewter,  or  from  photo- 
RAE   CANONICAE;     lowest  of   two   gravures. 

notes  forming  an  interval;    Tonic  or       Prioris    (Johannes)    composed 
Generator;    first  Partial  Tone.  church  music  and  chansons;    became 

Prince  Igor.  Alexander  Borodin's  organist  of  St.  Peter's,  Rome,  1490; 
four-act  opera  to  his  own  book  was  chapelmaster  to  Louis  XII  of  France, 
completed   by   Rimsky-Korsakov   and   1507. 


FBISE    SE    TBOIE 


Sir 


PBOPEiiTE 


Prise  de  Troie.  Part  <me  of  "  Lea 
TROYENS,   by   Berlioz. 

Proasma.  Introduction,  prelude,  or 
short  symphony. 
Probe.    Oer.    Rehearsal. 
Proceleusmaticus.     Metrical   foot 
consisting  of  four  short  syllables  or 
two  Pyrrhics. 

Proch  (Heinrich)  composed  the 
comic  opera  "  Ring  und  Maske,"  1844; 
''Das  Alpenhorn,"  and  other  popular 
lieder;  chapelmaster  of  the  Vienna 
court  theatre  from  1840.  B.  July  22, 
1809,  Vienna;  d.  Dec.  18,  1878, 
Vienna. 

Prodigal  Son.  Sir  Arthur  Sulli- 
van's oratorio  was  first  performed 
1869,  at  the  Worcester  Festival. 

Profius  (Ambrosius)  wrote  on 
singing,  attacking  Solmisation;  pub- 
lished collections  of  music;  played 
organ,  Breslau  Elizabethkirche,  1633. 
B.  Breslau,  Feb.  12,  1589;  d.  Deo. 
27,  1661. 

Programine  or  Program.  List 
of  works  to  be  performed. 

Programme  Ilusic  is  that  which 
professes,  to  give  a  definite  descrip- 
tion of  moods  or  events.  There  is 
an  unfortunate  tendency  on  the  part 
of  all  commentators  to  enlarge  upon 
whatever  suggestion  the  creator  of  a 
work  has  given  of  its  inner  meaning, 
whether  in  music,  painting,  or  statu- 
ary, to  progress  from  the  subjective 
to  the  objective,  from  the  abstract  to 
the  concrete.  Realizing  that  this 
tendency  is  due  the  lack  of  apprecia- 
tion and  understanding  of  absolute 
music  by  the  multitude,  certain  mod- 
ern composers  have  endeavored  to 
manufacture  music  of  descriptive 
intensity  equal  that  of  the  printed 
word,  to  embody  street  noises  and  the 
cries  of  the  nursery  in  the  larger 
symphonic  form.  Under  the  caption 
PASTORAL  SYMPHONY  will  be 
found  some  account  of  the  highest 
type  of  Programme  Music,  and  of  the 
absurdities  to  which  it  led,  despite 
the  plainly  expressed  purpose  of  the 
composer. 

Profession.    Motion  from  note  to 
note  or  from  chord  to  chord. 

Progression    Schweller.      Ger. 
Abbe  Vogler's  invention  for  produc- 


ing Crescendo  and  Diminuendo  effects 
on  the  organ. 

Prolatio.  In  Mensurable  Music, 
the  subdivision  of  a  semibreve  into 
minims;  in  Great  or  Perfect  Prola- 
tion  there  were  three  minims  to  the 
semibreve ;  in  the  Lesser  or  Imperfect, 
there  were   but  two. 

Prometheus.   Ludwig  van  Beetho- 
ven's only  ballet,  to  plot  by  Vigano, 
"  Die  Geschopfe  des  Prometheus,"  was 
first  performed  Mar.  28,  1801,  in  the 
Vienna  court  theatre.     There  are  16 
numbers,  exclusive  of  the  overture  and 
introduction. 
Promptement.    Fr.   .Quickly. 
Prontamente.   /*.   Quickness, 
readiness. 
Pronto.    /*.    Quick,  ready. 
Prope  Media.     L.     The  Paramese 
in  GREEK    MUSIC. 

Proper  Chant.  Obsolete  name  for 
the  key  C  major. 

Prophete.  Giacomo  Meyerbeer's 
five-act  opera,  to  book  by  Scribe,  was 
first  performed  April  16,  1849,  at  the 
Paris  Opera.  The  story,  laid  in  Hol- 
land, 1534,  follows  historical  lines 
more  closely  than  is  usually  the  case 
in  opera.  John  of  Leyden  is  to  be 
married  to  Bertha,  an  orphan  girl 
who  is  vassal  to  Count  Oberthal.  The 
first  act  reveals  John  and  his  mother. 
Fides,  at  Dordrecht;  at  a  time  when  the 
Anabaptists  are  inciting  the  peasants 
to  attack  Oberthal's  castle.  Ober- 
thal recognized  in  Giona  one  of  the 
three  Anabaptist  leaders,  a  former  ser- 
vant, discharged  for  thieving,  and  de- 
nounces him  to  the  mob,  which  speed- 
ily loses  its  enthusiasm.  Bertha  and 
Fides  ask  Oberthal's  consent  to  the 
girl's  marriage,  but  he  is  struck  with 
her  beauty,  and  has  her  dragged  into 
his  castle,  with  Fides,  as  her  attend- 
ant. The  next  act  takes  place  at  Ley- 
den. The  Anabaptists  come  to  the 
inn  kept  by  John  and  his  mother,  are 
impressed  with  John's  resemblance  to 
the  picture  of  David  in  Munster  Cathe- 
dral, and  on  learning  that  he  is  brave, 
a  visionary  with  some  knowledge 
of  Scriptures,  hail  him  as  their 
leader.  John  prefers  to  keep  his  inn 
and  looks  forward  to  a  happy  mar- 
riage with   Bertha.     His   betrothed, 


PROFHilTE 


518 


FBOSKE 


meantime,  has  escaped  from  Oberthal, 
found  her  way  to  the  inn,  and  is 
placed  in  hiding,  while  Oberthal  and 
his  soldiers,  who  have  hastened  in 
pursuit,  enter,  and  threaten  that,  un- 
less John  gives  up  the  girl,  his  mother 
shall  be  killed.  John  in  his  agony 
surrenders  Bertha.  Again  the  Ana- 
baptists offer  to  make  him  their 
leader,  and  this  time,  John,  who  has 
visions  of  revenge,  accepts.  The  third 
act  represents  the  camp  of  the  Ana- 
baptists, near  Munster.  Skaters  come 
across  a  frozen  lake,  bring  food,  and  a 
charming  ballet  ensues.  Oberthal  is 
taken  prisonpr,  but  on  learning  that 
Bertha  has  escaped  dishonour  and  is 
in  Mimster,  John  determines  that  his 
prisoner  shall  be  held  until  Bertha 
herself  can  pass  judgment  upon  him, 
then  leads  a  successful  assault  on 
the  city.  The  fourth  act  takes  place 
in  Munster,  now  ruled  by  the  Anabap- 
tists. Bertha,  disguised  as  a  pilgrim, 
meets  Fides,  attired  as  a  beggar. 
Fides  believes  that  John  has  been 
murdered  by  the  Prophet,  not  know- 
ing that  her  son  is  the  Prophet  him- 
self, and  Bertha  swears  to  kill  the 
Prophet  to  avenge  John.  The  scene 
shifts  to  the  Cathedral,  where  John 
is  to  be  crowned  Emperor  of  Gter- 
many.  As  the  coronation  procession 
marches  by.  Fides  recognizes  John,  and 
calls  to  him.  The  leaders  of  the  Ana- 
baptists tell  him  if  he  acknowledges 
his  mother,  they  will  kill  her,  and  to 
save  her,  he  declares  she  is  insane. 
Fides  is  then  led  off  to  prison.  The 
last  act  takes  place  in  the  Prison  of 
Munster.  The  three  Anabaptists  have 
heard  that  the  imperial  forces  are 
closing  in  upon  Munster,  and  agree 
to  buy  their  safety  by  sacrificing 
their  puppet,  who  has  just  been 
crowned,  to  tiie  true  Emperor.  Fides  is 
brought  in,  and  John  comes  to  beg  her 
forgiveness.  This  she  readily  grants, 
but  demands  that  he  renounce  his 
power.  An  officer  who  is  faithful  to 
John  informs  him  the  city  has  been 
betrayed  to  the  enemy,  and  brings 
in  Bertha,  who  is  charged  with  having 
attempted  to  fire  the  palace.  On  recog- 
nizing in  her  lover  the  bloodthirsty 
Prpphet  who  has  ravaged  the  coun- 


try. Bertha  is  overcome  with  horror, 
and  kills  herself.  John  sends  his 
mother  to  a  place  of  safety,  and  pre- 
pares to  die  with  his  enemies.  The 
scene  changes  to  the  Banquet  Hall.  As 
the  three  Anabaptists  rush  in,  leading 
the  hostile  troops  in  order  to  im- 
prison John,  he  flres  a  mine  which 
blows  up  the  palace,  and  all  die  to- 
gether. At  the  last  moment.  Fides 
enters,  to  forgive,  then  perishes  with 
her  son.  The  original  cast  included 
Mme.  Viardot  Garcia  as  Fides,  con., 
and  Roger,  as  the  Prophet,  ten.  The 
great  aria  for  Fides,  "Ah!  mon  fils" 
or  "  O  flglio  mio,"  occurs  in  the  second 
act.  The  ballet,  the  famous  Corona- 
tion March,  and  the  Prophet's  drink- 
ing sbng,  "  Bevian  e  intormo,"  are 
among  the  Meyerbeer  pieces  most  often 
heard   in   concert. 

Proportion.  The  relation  of  num- 
bers to  each  other,  not  only  in  the 
matter  of  intervals,  but  also  as  a 
means  of  determining  the  length  of 
notes,  was  an  important  subject  with 
medisEval  theorists,  who  interlarded 
their  works  with  such  pretty  words  as 
Triplasiiperbipartiensquintas  to  ex- 
press the  ratio  17.5,  and  Subtriplasu- 
pertripartiensquartas  to  express  the 
ratio  4.15.  Modern  music  is  so  far 
from  being  a  branch  of  applied  mathe- 
matics that  only  in  matters  of  Scale 
and  Temperament  is  there  occasion  to 
call  in  the  services  of  the  professed 
mathematician. 

Proposta.    It.   Subject  of  FUGUE. 

Proprietas.  L.  Ligature,  of  which 
the  first  note  was  sung  as  a  breve. 

Prosa.  Hymn  sung  between  the 
Gradual  and  the  Gospel  in  the  Roman 
Catholic  liturgy. 

Prosae  Sequentiae.     L.    PROSA. 

Prosarium.      L.    Book  of  Prosae. 

Prose.    PROSA. 

Froslambanomenos.  Or.  The  let- 
ter A  in  the  Greater  Perfect  system 
of  GREEK  MUSIC. 

Proske  (Karl)  collected  church 
music  in  Italy,  much  of  which  he  pub- 
lished as  "  Musica  Divina  " ;  was  or- 
dained priest,  1826,  and  became  canon 
and  chapelmaster  of  Ratisbon  Cathe- 
dral, to  which  he  willed  his  valuable 
collection.     B.   GrSbing,   Upper   Sile- 


PROUT 


519 


PTTCCINI 


sia,    Feb.    11,    1794;    d.    Dec.    20, 
1861. 

Prout  (Dr.  Ebenezer)  wrote  valu- 
able primers  on  theory;  composed  two 
symphonies,  an  organ  concerto,  a  re- 
quiem, Psalm  C2cxvi  for  soli,  chorus, 
and  orchestra,  services,  anthems; 
wrote  criticism,  edited  music  publi- 
cations; taught  Royal  Academy  of 
Music  and  Guildhall  School  of  Music ; 
became  professor  of  music,  Dublin 
University,  1894;  pupil  of  Charles 
Salaman.  B.  Mar.  1,  1835,  Oundle, 
Northamptonshire;  add.  Dublin,  Ire- 
land. 
Provencales.  TROUBADOURS. 
Pruckner  (Dionys)  taught  piano 
at  Stuttgart  Conservatory;  court 
pianist;  pupil  of  Liszt.  B.  May  12, 
1834,  Munich;  d.  Dec.  1,  1896,  Heidel- 
berg. 

Prudent  (Emile)  composed  the 
concerto-symphonie  "  Les  trois  Reves  " 
and  several  once  popular  piano  pieces; 
played  piano;  pupil  Paris  Conserva- 
toire. B.  April  3,  1817,  Angoulgme; 
d.  May  14,  1863. 

Frume  (Prangois  Hubert)  com- 
posed "  La  Melancolie "  and  other 
salon  pieces  for  violin ;  played  violin ; 
pupil  and  at  17  professor  at  LiSge 
Conservatory.  B.  June  3,  1816,  Stave- 
lot,  near  LiSge;  d.  July  14,  1849, 
Stavelot. 

P  r  u  m  i  e  r  (Antoine)  composed 
about  100  works  for  harp;  played 
harp,  Paris  Opfira  Comique;  taught, 
Paris  Conservatoire,  where  he  had 
been  a  pupil.  B.  July  2,  1794,  Paris; 
d.  Jan.  21,  1868.  Ange  Conrad 
played  and  composed  for  harp;  pupil 
of  his  father  ANTOINE.  B.  Jan.  5, 
1820,  Paris;  d.  April  3,  1884,  Paris. 
Psallettes.  MAITRISES. 
Psalm.  Songs  of  worship  attrib- 
uted to  Solomon  and  inherited  by  the 
Christian  churches  from  the  earlier 
Temple  service  of  the  Jews.  The  word 
is  from  the  Greek,  meaning  "  to  pluck 
a  string,"  and  hence  harp-song. 

Psalm-STelodicon.  Wind  instru- 
ment for  imitating  orchestral  effects 
inventedi  1828,  by  Schuhmacher  Wein- 
rich.  An  improvement,  1832,  by  Leo 
Schmidt,  was  known  as  the  Apollo- 
Lyra. 


Psalmistae.  Churchmen  ap- 
pointed to  sing  such  of  the  Cantus 
Ambrosianus  as  would  have  been 
marred  in  congregational  singing. 

Psalmody.  The  practice  of  psalm 
singing  and  the  rvdes  by  which  this 
is  governed. 

Psalterium.    L.    Psalter  or  collec- 
tion of  the  Psalms  with  the  music 
noted. 
Psaltery.     NEBEL. 
Psaltriae.     L.     Women  employed 
to  sing  and  play  at^banquets. 

Puccini  (Oiacomo)  foimded  a 
family  of  Italian  musicians  which 
culminated  in  his  namesake  and  great- 
great-grandson,  the  popular  operatic 
composer;  composed  church  music; 
became  chapelmaster  to  the  Republic 
of  Lucca;  pupil  of  Padre  Martini 
and  teacher  of  Guglielmi.  B.  1712. 
Antonio  composed  operas,  church 
music;  wrote  on  theory;  succeeded 
his  father  GIACOMO  as  chapelmaster 
at  Lucca.  B.  1747.  Domenico  com- 
posed operas  and  church  music; 
pupil  of  his  father  ANTONIO.  B. 
1771;  d.  1815.  Uichele  composed 
church  music,  operas;  pupil  of  Mer- 
candante.  B.  1813;  d.  1864.  Pacini 
composed  a  requiem  in  his  honour. 

Puccini  (Giacomo)  composed  the 
operas  "MANON  LESCAUT,"  "La 
BOHEME,"  "La  TOSCA,"  "MAD- 
AME BUTTERFLY";  ranked  with 
the  most  popular  and  gifted  of  the 
"  Young  Italian "  school.  Son  of 
MICHELE  Puccini,  he  received  his 
first  musical  instruction  from  Ange- 
loni  in  his  native  city,  Lucca;  and 
then  entered  the  Milan  Conservatory 
as  a  pensioner  of  Queen  Margherita 
of  ItaJy,  where  he  studied  under  A. 
Ponchielli.  His  Sinfonia-Capriccio  for 
orchestra  was  so  well  received  that 
Ponchielli  suggested  he  try  "Le 
VILLI,"  for  which  Fontana  had  writ- 
ten a  libretto.  This  was  performed 
May  31, 1884,  at  the  Teatro  dal  Verme, 
Milan,  and  after  revision  and  elabora- 
tion into  two  acts,  at  La  Scala,  Jan. 
24,  1885.  His  "Edgar,"  likewise  to 
book  by  Fontana,  and  based  on  de 
Musset's  "La  Coupe  et  les  Leyres," 
was  first  performed,  April  21,  1889,  at 
La  Scala,  but  proved  a  failure.    Tten 


PtrCCITTA 


520 


FUBCELL 


followed  the  highly  successful  works 
mentioned  at  the  beginning  of  this 
article.  In  1907  Puccini  visited  the 
United  States  to  aid  in  the  produc- 
tion of  his  "  Manon  Lescaut "  at  the 
Metropolitan  Opera  House,  and  while 
there  visited  the  theatres  in  the  hope 
of  finding  some  suitable  American  sub- 
ject for  an  opera.  His  choice  fell  on 
"  The  Girl  of  the  Golden  West."  A 
libretto  was  provided  on  this  subject 
by  Zangarini,  and  in  the  spring  of 
1908  Puccini  had  begun  work,  promis- 
ing to  complete  it  for  the  season  of 
1908-9.  B.June  22, 1858,  Lucca;  add. 
Torre  del  Lago,  Italy. 

Fuccitta  (Vincenzo)  composed  10 
volumes  of  songs,  published  by 
Eicordi,  Milan;  23  operas,  of  which 
"  I  due  Prigionieri,"  the  first,  was  pro- 
duced at  Some,  1801;  conducted 
operas  in  Lisbon,  London,  and  in  Paris 
during  Mme.  Catalani's  management 
of  the  Italian  opera;  pupil  of  Fena- 
roli  and  Sala.  B.  1778,  Civita  Vec- 
chia;    d.  Deo.  20,  1861,  Milan. 

Fuget  (lioisa)  composed  the  one- 
act  opera  "Le  mauvais  Oeil,"  Opfira 
Comique,  Oct.  1,  1836;  the  operetta 
"  La  Veilleuse,"  Gymnase,  Sept.  27, 
1869;  songs  once  highly  popular  to 
words  by  G.  Lemoine;  pupil  of 
Adolphe  Adam.  B.  1810,  Paris;  m. 
Lemoine,  1842 ;    retired  after  1869. 

Fugnani  (Gaetauo)  composed  three 
sets  of  violin  sonatas,  12  symphonies, 
chamber  music;  conducted,  taught, 
played  violin;  pupil  of  Corelli  and 
Tartini.  B.  Nov.  27,  1731,  Turin;  d. 
June  15,  1798,  Turin. 

Fugno  (Stephane  Raoul)  com- 
posed operas  and  oratorios;  played 
piano,  touring  Europe  and  America 
with  distinguished  success  in  concerts 
and  recitals;  was  piano  professor, 
Paris  Conservatoire,  1896  to  1901, 
where  as  pupil  he  had  won  first  prizes 
for  piano,  harmony,  solfege,  and 
organ.  From  1872  to  1892,  Pugno 
played  organ  at  the  Church  of  St. 
Eugene;  became  chorusmaster  at  the 
Theatre  Ventadour,  1874,  and  from 
1892  to  1896  was  professor  of  har- 
mony at  the  Conservatoire.  Besides 
bis  songs,  piano  sonata,  and  the  piano 
pieces,  "  Les  Nuits,"  his  chief  compo- 


sitions were:  "La  Resurrection  de 
Lazare,"  oratorio,  1879;  the  fairy 
opera,  '*  La  F6e  Cocotte,"  the  ballet, 
"Les  Papillons,"  1881;  the  comic 
opera,  "Ninetta,"  1882;  the  five-act 
ballet,  "  Viviane,"  1886;  the  three-act 
opera  bouflfe,  "Le  Sosie,"  1887,  the 
three-act  comic  opera,  "  Le  Valet  de 
Cceur,"  1888;  "Le  Retour  d'Ulysse," 
1889,  the  four-act  opera  "  La  Vocation 
de  Marius,"  1890 ;"  La  petite  Poucette," 
1891;  "La  Danseuse  de  Corde,"  a 
three-act  pantomime,  1892;  "Pour  le 
Drapeau,"  1895;  "Le  Chevalier  aux 
Fleurs"  (with  Messager),  a  ballet, 
1897 ;  "  Melusine  "  and  "  Les  Pauvres 
Gens."  B.  June  23,  1852,  Paris;  add. 
Paris. 

Fulpitum.  L..  Stage  of  the  Classic 
theatre;    MOTET. 

Pulsatile.  Name  for  PERCUS- 
SION INSTRUMENTS. 

Fulsator  Orga&orum.  L.  Term 
for  organ  player  at  a  time  when  the 
action  of  the  instrument  was  so  heavy 
that  the  keys  had  to  be  struck  with 
the ,  fist  or  even  depressed  with  the 
elbows. 

Functus.    L.    DOT  or  point. 

Funkt.    Ger.    DOT. 

Fuuktirte  UToten.  Oer.  Dotted 
notes. 

Funta.  /*.  Point,  as  Colla  Punta 
dell'  Arco,  "with  the  point  of  the 
bow.''  I 

Funtato.  It.  Detached,  pointed, 
staccato. 

Fupitre.     Fr.     PULPITUM. 

Fuppo  (Gl-iuseppe)  composed  three 
violin  concertos  and  other  violin 
pieces;  played  violin,  accumulating  a 
large  fortune  in  tours  of  Europe,  but 
died  in  poverty;  pupil  of  the  Naples 
Conservatory.  B.  June  12,  1749, 
Lucca;    d.  April  19,   1827. 

Purcell  (Henry,  "the  Elder") 
sang  in  Eng.  Chapel  Royal  on  its  re- 
establishment,  1660;  played  in  the 
King's  Band  of  Music  from  1663; 
became  the  father  of  the  greatest  of 
English  composers.  D.  Aug.  11,  1664. 
Thomas  sang  Eng.  Chapel  Royal  from 
1660;  became  lay  vicar,  Westmin- 
ster Abbey,  1661 ;  composer  and  musi- 
cian to  the  king,  1662;  composed  a 
burial    chant;     brother    of    HENRY, 


FUBCELL 


531 


PTTBCELL 


"THE  ELBER."  D.  July  31,  1682. 
Darnel  composed  music  to  playa  by 
Gibber,  D'Urfey,  Farquhar,  etc.,  six 
anthems,  six  cantatas,  sonatas  for 
flute  and  violin,  organ  and  harpsi- 
chord settings  of  the  Psalms;  played 
organ.  B.  about  1660;  youngest  son 
of  HENKY,  "  THE  ELDER";  d.  1717, 
London. 

Furcell  (Henry)  composed  the 
opera  "  Dioclesian,"  adapted  by  Better- 
ton  from  Beaumont  and  Fletcher's 
"  Prophetess,"  music  to  some  35  plays, 
much  incidental  music  published 
(Posth.),  1697,  as  "a  collection  of 
Ayres  Composed  for  the  Theatre  and 
upon  other  Occasions,"  church  music; 
ranked  as  the  greatest  of  composers  of 
English  birth.  Son  of  Henry  Purcell, 
"  the  Elder,"  who  died  while  he  was 
still  a  child,  he  became  a  chorister  in 
the  Eng.  Chapel  Royal,  and  when  his 
voice  broke,  studied  organ  and  compo- 
sition with  John  Blow.  For  12  years 
from  1676  he  was  a  copyist  at  West- 
minster Abbey,  during  which  time  he 
composed  some  anthems,  a  song  pub- 
lished, 1677,  in  "Playford's  Choice 
Ayres,"  and  an  elegy  on  the  death  of 
Matthew  Locke,  which  appeared  in  the 
same  collection.  In  1680  Purcell  suc- 
ceeded his  master.  Blow,  who  seems 
to  have  been  deposed,  as  organist  at 
Westminster  Abbey.  "  Fantazias  "  for 
strings,  composed  about  this  time,  show 
the  influence  of  Orlando  Gibbons. 
From  this  year  date  the  first  of  his 
dramatic  pieces,  music  to  "Theodosius, 
and  the  Virtuous  Wife,"  his  Ode  to 
Charles  II,  "Welcome  Vicegerent," 
and  doubtless  some  church  music.  In 
1682  he  succeeded  Lowe  as  organist  of 
the  Chapel  Royal,  and  in  1683  pub- 
lished his  "  Sonnatas  of  II  Parts,"  two 
violins  and  organ  or  harpsichord,  and 
began  to  style  himself  "  composer  in 
ordinary  to  his  most  Sacred  Majesty." 
"My  heart  is  inditing,"  one  of  his 
best  anthems,  was  probably  composed 
for  the  coronation  of  James  II.  The 
"Elegy  on  John  Playford,"  and  the 
birthday  ode,  "  Sound  the  Trumpets," 
date  from  1687.  1689  was  memorable 
as  being  the  year  of  Puroell's  only 
serious  financial  trouble.  He  had  ac- 
cepted fees  for  admission  to  the  organ 


loft  of  Westminster  Abbey  at  the 
coronation  of  William  and  Mary,  and 
these  he  was  obliged  to  refund.  1690 
saw  the  performance  of  "  Dioclesian," 
which  was  not  successful,  although 
the  song  "  What  shall  I  do  to  show 
how  much  I  love  her"  has  not  yet 
lost  favour.  In  1691  he  composed 
"  King  Arthur  "  to  Dryden's  book,  and 
in  1694  the  anthem  "  Thou  knowest, 
Lord^  the  secrets  of  our  hearts,"  for 
the  funeral  of  Queen  Mary.  From  1695 
date  two  elegies  to  the  Queen,  music 
for  Howard  and  Dryden's  "  Indian 
Queen  "  and,  in  all  probability,  music 
to  Shadwell's  operatic  version  of  "  The 
Tempest."  Handel,  who  borrowed 
many  passages  from  Purcell,  as  well 
as  his  broad  treatment  of  the  massed 
chorus,  soon  caused  the  Englishman  to 
be  forgotten,  his  music  fell  into  neg- 
lect, and  it  is  not  yet  possible  to 
give  anything  like  a  complete  cata- 
logue. Novello  published  six  vols,  of 
"  Purcell's  Sacred  Music."  Besides  the 
collection  of  theatre  music  above  re- 
ferred to,  a  number  of  his  songs  are 
contained  in  "Orpheus  Britannicus," 
in  two  books,  1697  and  1702.  Of  songs, 
duets,  trios,  and  catches,  he  composed 
more  than  200,  and  the  plays  for 
which  he  composed  incidental  music 
include,  in  addition  to  those  men- 
tioned, "  The  Knight  of  Malta,"  "  The 
Inaian  Emperor,"  "  The  Fairy  Queen," 
"  Aurung-Zebe,"  "The  Fatal  Mar- 
riage," "Don  Quixote,"  "Timon  of 
Athens,"  "  Oroonoko,"  etc.  B.  1658  or 
1659,  London;  d.  Nov.  21,  1695. 
Edward  became  organist  of  St.  Mar- 
garet's Church,  Westminster.  B.  1689 ; 
son  of  the  great  HENRY;  d.  July  1, 
1740,  London.  Edward  Henry  played 
organ  in  London  churches;  in  boy- 
hood, chorister,  Eng.  Chapel  Royal. 
Son  of  EDWARD;    d.  about  1770. 

Purcell  Club  was  organized  in 
London,  1836,  and  gave  two  concerts 
of  Purcell's  music  annually  until 
1863,  when  the  club  dissolved. 

Furcell  Commenioration  was  held 
in  London,  Jan.  30,  1858,  in  celebra- 
tion of  the  composer's  200th  anniver- 
sary. In  1895  the  bicentenary  of  the 
composer's  death  was  honoured  by  the 
Royar  Academy  of  Music,  London,  and 


PTTRCELL    SOCIETY 


522 


PYNE 


"  King  Arthur  "  was  sung  at  the  Bir- 
ming^m  Festival,  1897. 

Purcell  Society  was  founded  in 
London,  1876,  for  the  purpose  of  is- 
suing a  complete  edition  of  Purcell's 
compositions.  Rev.  Sir  F.  A.  G.  Ouse- 
ley,  Bart.,  headed  the  original  com- 
mittee, and  several  publications  were 
issued.  For  a  time  the  movement 
lost  strength,  but  a  new  organization 
was  effected  in  1887.  A  15th  volume 
was  issued  by  the  society,  1905.  Dr. 
Sir  Hubert,  H.  Parry,  Bart.,  was  then 
at  the  head  of  the  commitee. 

Furday  (Charles  Henry)  composed 
a  setting  of  the  hymn  "  Lead  Kindly 
Light";  lectured;  wrote  on  music; 
edited  sacred  works.  B.  Jan.  11,  1799, 
Folkstone;   d.  April  23,  1885,  London. 

Furday  (Thomas)  published  sheet 
songs  in  London,  1838-55. 

Furday  (Zenas  Trivett)  published 
music  in  London,  1831-60.  Son  of  the 
Purday  who  published  music  as  Pur- 
day  &  Button,  in  partnership  vrith 
S.  J.  Button. 

Furdie  (Kobert)  published  music 
in  Edinburgh,  1808  to  1837,  when  he 
was  succeeded  by  his  son  John,  who 
continued  the  business  until   1887. 

Furfling.  Ornamental  inlayed  bor- 
der on  violins  and  guitars. 

Furitani.  Vincenzo  Bellini's  two- 
act  opera,  to  book  by  Count  Pepoli, 
was  first  performed  Jan.  25,  1835,  at 
the  Paris  Theatres  des  Italiens.  The 
story  is  laid  in  England  during  the 
Great  Rebellion.  Elvira,  daughter  of 
Lord  Walton,  who  commands  Ply- 
mouth for  the  Puritans,  loves  Arturo 
(Lord  Arthur  Talbot),  a  young  cava- 
lier who  served  his  king.  Elvira's 
hand  has  been  promised  Ricardo  (Sir 
Richard  Forth)  of  the  Cromwellian 
forces,  but  Giorgio  (Sir  George  Wal- 
ton) brings  his  niece  the  glad  news 
that  her  father  has  agreed  that  she 
shall  marry  Arturo,  and  that  her  lover 
shall  be  admitted  to  the  fortress.  But 
the  widowed  Henrietta  Maria,  who  is 
in  the  fortress  under  sentence  of 
death,  is  allowed  to  escape  by  Arturo, 
disguised  as  Elvira.  Thinking  her- 
self abandoned  by  Arturo,  Elvira  be- 
comes insane.  Meantime  Arturo  is 
proscribed  by  Parliament  and  in  dan- 


ger of  death.  Touched  by  the  appeals 
of  Giorgio,  Ricardo  agrees  that  he 
will  induce  the  Parliamentary  leaders 
to  pardon  Arturo  if  he  is  captured 
unarmed.  He  is  so  captured  while 
explaining  his  disappearance  to  Elvira, 
and  is  condemned  to  die  on  the  same 
day,  but  the  message  of  his  pardon 
soon  restores  him'  and  Elvira  to  hap- 
piness. The  original  cast  included: 
Elvira,  Grisi,  sop.;  Arturo,  Rubini, 
ten.;  Ricardo,  Tamburini,  bass;  Gior- 
gio, Lablanche,  bass.  The  principal 
musical  numbers  are:  Act  I:  "Ah! 
sempre  io  ti  perdei,"  Ricardo;  "A  te 
o  eara,"  Arturo ;  "  Son  vergin  vez- 
zosa,"  Elvira  and  the  finale  "  Non 
casa,  non  spiaggia  ";  Act  II :  "  Qui  la 
voce"  (Mad  Song),  Elvira;  "Vien, 
diletto,"  Elvira ;  "  Suoni  la  tromba  " 
(Liberty  Duet),  Giorgio  and  Ricardo; 
"A  una  fonte  aflitto  e  solo,"  Arturo; 
"  Star  teco  ognor,"  Arturo  and  Elvira; 
"  Ella  e  tremante,"  Arturo. 

Puritan's  Daughter.  Michael 
William  Balfe's  three-act  opera,  to 
book  by  J.  V.  Bridgeman,  was  first 
performed  Nov.  30,  1861,  at  Covent 
Garden,  London. 

Fye  (Eellow  John)  composed  the 
full  anthem  "  Turn  Thee  again,  0 
Lord,"  (Gresham  medal,  1832)  and 
other  church  music,  madrigals;  was 
the  first  piano  pupil  of  the  London 
Royal  Academy  of  Music,  under  Ci- 
priani Potter,  and  Dr.  Crotch  (har- 
mony) ;  abandoned  his  profession  to 
go  into  trade,  1853,  but  served  as 
officer  of  many  institutions  and  so- 
cieties. B.  Feb.  9,  1812,  Exeter;  d. 
Sept.  22,  1901,  Exmouth. 

Fyknon.  "  Close  note."  In  GREEK 
MUSIC  the  quarter-tones  of  the  En- 
harmonic Genera;  in  mediaeval  music 
a,  semitone. 

Fyne  (Louisa  Fanny)  sang  sop.  in 
English  operas  and  concerts,  excelling 
in  such  rSles  as  Amina,  Zerlina,  Queen 
of  the  Night;  toured  United  States 
1854-55,  and  on  her  return  to  England 
gave  opera  at  Drury  Lane  and  Covent 
Garden  with  WilUam  HARRISON, 
until  1862 ;  pupil  of  Sir  George  Smart. 
B.  Aug.  27,  1832;  m.  the  singer 
Frank  Bodda,  1868;  d.  Mar.  20,  1904, 
London. 


FYBAIKTIDON  523  QUATBE    FILS 

Fyramidon.  Organ  stop  of  16  ft.  flutes  and  200  other  pieces  in  which 
or  32  ft.  tone,  the  pipes  being  four  the  flute  figures;  invented  the  second 
times  as  wide  at  the  top  as  at  the  key  and  turning  slide  for  flute ;  taught 
mouth.  flute  to  Frederick  the  Great,  to  whom 

Pyrophone.  Kastner'a  invention  he  was  chamber  composer  and  con- 
for  producing  musical  tones  from  jets  ductor,  1741-73;  pupil  of  Bufifardin. 
of  gas  burning  under  tubes.  B.  Oberscheden,  near  GSttingen,  Jan. 

Pythagoreans.  The  Canonici,  who  30,  1697;  d.  July  12,  1773,  Potsdam, 
followed  the  system  of  Pythagoras,  See  autobiography;  life  by  A.  Quantz, 
judging     concords     and     dissonances    his  grandson. 

solely  by  the  mathematical  theory  of        Quarles    (Charles)    played    organ 
ratio  of  vibration.     Opposed  to  them    Trinity  College,  Cambridge,  and  York 
were   the   Musici,   followers   of   Aris-    Minster ;   composed  "  Lesson  for  Harp- 
toxenus,  who  held  that  the  ear  and    siehord."    D.  1727. 
practice  should  be  the  only  guides  in       Quarta.     L.    QUARTE. 
such  matters.  Quarte.  Fr.  Interval  of  a  FOURTH. 

Abundans  or  Superflua,  augmented 
"  fourth. 

Q.,    when    inverted,    indicates,    in       Quart  de  Slesure.    Fr.  Crochet  or 
'cello  scores,  that  the  thumb  is  to  be   quarter  note  rest, 
employed  as  a  CAPO  TASTRO.  Quarte  de  Nazard.   Fr.  2  ft.  organ 

Quadrate  B.j  or  "  square  B "  was  stop  a  fourth  above  the  Nazard  or 
the     first    ACCIDENTAL,     since     it    12th. 

raised  B  rotundum  or  "round  B"  a       Quart   de  Soupir.     Fr.     Semiqua- 
semitone.     The  modern  Natural  sign   ver  or  eighth  note  rest, 
is  derived  from  B.  Quadratum.  Quarte  du  Ton.      Fr.    Subdoml- 

Quadratum.       L.      Semibreve     or   nant. 
square  note,  in  old  NOTATION.  Quarter  Note.     Crochet  or  fourth 

Quadri   (Dom.)   wrote   on  theory;    of  a  whole  note, 
taught    music    in    Milan.    .  B.    1801,        Quarter    Tones.      Enharmonic   in- 
Vicenza;    d.  1843,  Milan.     '  tervals  less  than  a  semitone,  as  the 

Quadrible.     QUATRIBLE.  difference    between     E    flat    and    D 

Quadrille.  Square  dance  for  four  sharp,  correctly  sung  or  played  on  the 
or    multiples     of     that    number     of   violin. 

dancers,  derived  from  the  French  Quartet.  Any  composition  for  four 
court  ballets  of  the  18th  century,  solo  instruments  or  voices.  Tie  string 
The  five  movements  are  known  as  "  Le  quartet,  for  two  violins,  viola  and 
Pantalon,"  "  La  Poule,"  "  L'EtS,"  "  La  'cello,  reduced  to  sonata  FORM  by 
Trenise,"  or  "La  Pastourelle,"  and  Haydn  and  developed  by  Mozart  and 
"  La  Finale."  Beethoven,  has  long  been  the  medium 

Quadripartite.  Four-voice  com-  for  the  expression  of  the  noblest 
position  thoughts  in  Chamber  Music. 

Quadi-um.      L.      The    NATURAL       Quartetto.     L.    QUARTET. 
gjgQ  Quartfagott.    Ger.    Bassoon  set  a 

Quadruple   Counterpoint  is   four-    fourth  below  that  commonly  used, 
part      COUNTERPOINT      so      con-        Quartflbte.     Qer.    Flute   a   fourth 
structed  that  all  parts  may  be  trans-    higher  than  the  commwi  flute, 
posed  Quartgeige.    Ger.    KIT. 

Quadruple  Croche.  Fr.  Hemi-  Quasi.  L.  "  In  the  style  of,"  as 
demisemiquaver  or  64th  note.  Allegretto,    somewhat    allegretto; 

Quadruplet.       Four     equal     notes    Fantasia,  almost  in  fantasia  s^le 
ETOuped  Quatorzieme.   Fr.  FOURTEENTH. 

Quantity.     Duration  of    notes    or       Quatre.    Fr.   Four, 
svllables  in  METRE.  Quatre    Fils    Aymon.       Michael 

Quantz  (Johann  Joachim)  com-  William  Balfe's  opfira  comique  to 
posed  300  concertos  for  one  and  two   book  by  Leuven  and  Brunswick,  was 


QTTATBE    SCAINS 


524 


BAAFF 


first  performed  July  15,  1844,  at  the 
Paris  Opfira  Comique. 

Quatre  lllains,  Sl.  Fr.  For  four 
hands. 

Quatrible.  In  obsolete  music,  pro- 
gression by  parallel   fourths. 

Quatricinium.  L.  Music  in  four 
parts. 

Quattricroma.    It.    Fourth  note. 

Quattro  IVEani.    L.    For  four  hands. 

Quatuor.    Fr.    QUAKTET. 

Quaver.   Eighth  note  or  croche. 

Queen  of  Sheba.  English  name 
of  Goldmark's  opera  "KONINGIN 
VON  SABA." 

Quef  (Charles)  played  organ  in 
Paris,  succeeding  Guilmant  at  the 
Church  of  La  Trinity,  1902,  where  he 
had  been  choirmaster  in  1900. 

Queisser  (Carl  Traugott)  became 
the  first  notable  trombone  soloist; 
also  played  viola  in  Matthai's  quar- 
tet and  helped  found  Leipsic  "  Eu- 
terpe" society.  B.  Jan.  11,  1800, 
near  Leipsic;  d.  June  12,  1846, 
LeipsicT 

Querfiote.  Oer.  Traverse  or  com- 
mon FLUTE. 

Querpfeife.     6-hole  Swiss  FLUTE. 

Querstand.  Ger.  FALSE  RELA- 
TION. 

Queue.  Fr.  "Tail."  Tailpiece  of 
viols  or  the  tail  of  a  note. 

Quick  Step.     March  in  quick  time. 

Quieto.    It.    Calm,  quiet. 

Quilisma.  In  obsolete  notation  the 
sign  or  NEUMA  representing  a  trill. 

Qulnault  (Jean  Baptiste  Mau- 
rice) composed  ballets;  sang  and 
acted.     D.  1744,  Gien. 

Qulnault  (Philippe)  wrote  nu- 
merous libretti  for  Lulli.  B.  1635, 
Paris;    d.  Nov.  26,  1688. 

Quindecima.      Double    octave. 

Quidible.    Progression  by  fifths. 

Quint.  Interval  of  FIFTH;  SYs  ft. 
organ  stop  a  fifth  above  the  founda- 
tion stops;    a  violin's  E  string. 

Quintabsatz.  Ger.  Imperfect 
CADENCE. 

Qulnta  Decima.  L.  Interval  of 
Fifteenth,  or  double  octave;  organ 
stop  two  octaves  above  the  founda- 
tion stops. 

Quinta  Falsa.  L.  "FALSE 
FIFTH." 


Quinta  Modi.  L.  The  Dominant 
or  fifth  degree  of  a  scale. 

Qulntatlon.  Oer.  Organ  stop  of 
covered  metal  pipes  sounding  a  12th 
and  the  fundamental. 

Quinta  Toni.    L.   QUINTA  MODI. 

Qiunte.     Fr.    QUINT. 

Quinterna.  Obsolete  violin-shaped 
guitar. 

Quintet.  Composition  for  five  solo 
voices  or  instruments  in  sonata  FORM. 
The  most  celebrated  string  quintet  is 
that  of  Mendelssohn,  in  A,  Op.  18;  the 
greatest  with  piano,  that  of  Schumann. 

Quintfuge.  Ger.  An  answer  in 
FUGUE  at  the  interval  of  a  fifth. 

Quintole.  Group  of  five  notes 
played  in  the  time  of  four. 

Quint  on.  Fr.  Obsolete  five- 
stringed  viol. 

Quintoyer.  To  sound  a  12th  by 
overblowing;    to  sing  a  QUINBLE. 

Quintuor.     Fr.     QUINTET. 

Quintuple.  L.  "Five-fold."  Time 
having  five  beats  to  the  measure. 

Quintus.    L.    QUINT. 

Quintviola.  Gamba  organ  stop 
pitched  at  QUINT. 

Quire.  Obsolete  English  for 
CHOIR.  . 

Quires'ter.  Obsolete  English  for 
CHORISTER. 

Qui  Tollis.  L.  "Who  taketh 
away,"  from  the  GLORIA  in  the 
MASS. 

Quodlibet.  L.  "What  you  will." 
Humorous  medley  or  potpourri  or 
Dutch  concert. 

Quoniam  tu  solus.  L.  "For Thou 
alone,"  from  the  GLORIA  in  the 
MASS. 


E.  H.  Abbreviation  for  "right 
hand."  K.  Ct.  Abbreviation  for 
"  responsorium  graduale."  The  letter 
E.  alone  serves  as  the  abbreviation 
for  "  ripiens,"  "  clavier  de  recit "  or 
"right." 

Baafl  (Anton)  sang  ten.  in  opera, 
creating  the  rSle  of  "  Idomeneo "  for 
his  friend  Mozart;  in  early  life  pre- 
pared for  priesthood  in  Cologne  Jesuit 
College,  but  was  made  court  singer 
by  Elector  Clement  Augustus.  B.  near 
Bonn,  1714;  d.  May  27,  1797,  Munich. 


RABANNA 


525 


BAFE 


Sabanna  or  Baban.  Small  Indian 
hand  drum. 

Babbia.     L.    Fury. 

Baccoursir.    Fr.   To  shorten. 

Bacbmaumofl  (Sergius  Vassi- 
lievitch)  composed  the  successful 
one-act  opera  "  Aleko,"  Moscow,  1893, 
a  "  Prelude,"  concerto,  and  other 
piano  pieces;  _ played  piano;  pupil  of 
Siloti  and  Arensky  at  the  Moscow 
Conservatory,  where  he  won  the 
grand  gold  medal  in  1891.  B.  1873, 
Nijni  Novgorod;    add.  St.  Petersburg. 

Backett.  Obsolete  bombard  much 
improved  by  Denner  but  now  replaced 
by  the  bassoon;  obsolete  organ  atop 
of  8  ft.  or  16  ft.  pitch. 

Baddolcendo.  It.  Increasing  soft- 
ness and  sweetness. 

BaddoppiatOi  L.  To  double  a  part 
or  interval. 

Badical.  Fundamental  CADENCE, 
or  root  of  CHORD. 

Badoux  (Jean  Theodore)  direct- 
ed Li6ge  Conservatory,  1872;  com- 
posed the  oratorio  "  Cain,"  the  can- 
tata "  Le  Fille  de  Jepthtfi,"  two  sym- 
phonies, Te  Deum;  wrote  biography 
of  Vieuxtemps;  pupil  of  Li§ge  Con- 
servatory, where  he  won  the  prix  de 
Rome,  1859,  with  his  cantata  "  Le  Juif 
Errant,"  later  of  Hal6vy.  B.  Nov.  9, 
1835,  Liege;   add.  Li6ge. 

Badziwill,  Prince  von  (Anton 
Heinrlch)  composed  25  numbers  to 
Goethe's  "Faust,"  part  songs;  played 
'cello,  sang;  patronized  Bteethoven. 
B.  June  13,  1775,  Wilna;  d.  April  8, 
1833. 

Baff  (Joseph  Joachim)  composed 
11  symphonies,  a  piano  concerto  and 
suite  for  violin  and  orchestra  "which 
are  still  played,  much  chamber  music, 
songs,  and  the  operas  "KSnig  Alfred," 
"Dame  Kobold,"  "Samson";  ranked 
with  the  most  prolific  composers  of 
the  "Romantic  School."  Practically 
self-taught,  although  son  of  an  organ- 
ist. Raff  had  won  classical  honors  at 
a  Jesuit  school,  but  was  compelled  to 
discontinue  his  studies  from  lack  of 
means.  In  1843  Mendelssohn,  im- 
pressed by  some  manuscripts,  intro- 
duced him  to  Breitkopf  &  HSrtel, 
and  he  was  recognized  and  assisted 
later  by  Liszt  and  von  Bulow.    The 


last-named  pianist  first  brought  Raff 
conspicuously  before  the  public  as  a 
composer  by  playing  his  "  Concert- 
stfidc"  at  a  Stuttgart  concert,  and  in 
1851  Liszt  produced  his  "  KSnig  Al- 
fred" at  Weimar,  where  it  still  holds 
the  boards.  In  1854  Raff  married  the 
actress  Doris  Genast,  and  accompa- 
nied her  to  Wiesbaden,  .where  he  soon 
acquired  popularity  as  a  piano  teacher. 
"An  das  Vaterland,"  his  first  sym- 
phony, won  the  prize  of  the  "  Gesell- 
sehaft  der  Musikfreunde,"  Vienna, 
1863;  his  "Dame  Kobold"  was 
given  at  Weimar,  1870,  and  in  1877 
he  became  director  of  the  Frankfort 
Hoch  Conservatory.  In  1886  the  Raff 
Memorial  Society  of  Frankfort  issued 
a  complete  edition  of  his  works. 
Among  these  may  be  noted  the  sym- 
phonies No.  2,  in  C,  Op.  140;  "Im 
Walde,"  No.  3,  in  F;  No.  4,  in  G 
minor.  Op.  167;  "Lenore,"  No.  5,  Op. 
177,  in  E;  "Gelebt,"  etc.,  No.  6,  Op. 
189,  D. minor;  "In  den  Alpen,"  No.  7, 
Op.  201,  B  minor";  "Fruhlings- 
klange,"  No.  8,  Op.  205,  in  A;  "  Im 
Sommer,"  No.  9,  Op.  208,  E  minor; 
"Zur  Herbstzeit,"  No.  10,  Op.  212; 
"Der  Winter,"  No.  11,  Op.  214,  A 
minor  (posth.),  a  sinfonietta;  the 
suites  "  In  ungarischer  Weise,"  "  Ital- 
ienische,"  "Thuringer,"  "B  Minor," 
Op.  204;  overtures  to  "Ein  feste 
Burg,"  "Romeo  and  Juliet,"  "Othel- 
lo," "Macbeth,"  "The  Tempest," 
"  Jubel-Fest,"  "  Conpert-Ouverture  " 
and  a  "  Fest-Ouverture "  for  wind; 
the  festival  cantata  "  Deutschlands 
Auf erstehung " ;  an  eight-part  De 
Profundis,  Op.  141;  the  oratorio 
"Weltende,  Gericht,  Neue  Welt," 
Leeds  Festival,  1882;  several  scenes 
for  solo  voice,  with  orchestra;  the 
unperformed  operas  "  Die  Eifer- 
suehtigen"  to  his  own  words;  "Die 
Parole"  and  "Benedetto  Marcello"; 
music  to  "  Bernard  von  Weimar,"  a 
play  by  his  father-in-law,  Gfenast; 
30  male  quartets;  the  song  cycles 
"Maria  Stuart"  and  "  Blondel  de 
Nesle";  two  'cello  concertos; 
"  La  fgte  d'amour,"  for  violin 
and  orchestra;  "-Ode  au  Prin- 
temps  "  for  piano  with  orchestra;  the 
"Suite  Alterer  form,"  "Die   SehBne 


BAGGIANTI 


536 


ba]»:eax7 


Mullerin  "  and  "  Suite  in  canon  form,'' 
Op.  192,  three  string  quartets,  Op. 
192;  a  sonata  for  'cello,  five  sonatas 
for  violin,  two  sonatas  for  piano,  and 
a  number  of  paraphrases.  B.  Lachen, 
Zurich,  May  27,  1822;  d.  June  25, 
1882,  Frankfort-on-Main. 

Baggiauti  (Ippolito)  played  vio- 
lin. B.  near  Pisa,  1866;  d.  Viareggio, 
1894. 

Bagoke.     Small  Kussian  horn. 

Baimondi  (Fietro)  composed  the 
trilogy  of  oratorios  called  "  Joseph," 
consisting  of  the  works  "Potiphar," 
"  Pharaoh,"  and  "  Jacob,"  ■  performed 
separately  at  Rome,  1852,  and  later 
consecutively  by  400  musicians.  He 
was  considered  remarkable  for  his 
knowledge  of  counterpoint  as  well  as 
for  his  extraordinary  output,  which 
included  55  operas,  21  grand  ballets, 
produced  between  1812  and  1828  at 
the  San  Carlo,  Naples;  four  addi- 
tional oratorios,  four  masses  with 
orchestra,  two  masses  for  two 
choirs,  a  capella,  a  16-part  Credo, 
two  requiems  with  orchestra,  the 
whole  book  of  Psalms  for  from 
four  to  eight  voices,  90  "  parti- 
menti,"  and  many  smaller  works. 
A  pupil  of  the  Pieti  de  'Turchini 
Conservatory,  Naples,  his  first  opera, 
"Le  Bizarrie  d'Amore,"  was  pro- 
duced in  Genoa  when  he  was  21. 
After  serving  as  director  of  the 
Naples  theatres,  he  was  made  prof, 
at  the  Palermo  Conservatory,  and  in 
1850  succeeded  Basili  as  chapelmaster 
at  St.  Peter's,  Rome.  B.  Dee.  20, 1786, 
Rome;    d.  Oct.  30,  1853,  Rome. 

Balnsfortb  (Elizabeth)  created 
"Arline"  in  the  London  production 
of  Balfe'a  "  Bohemian  Girl " ;  sang 
with  success  at  English  festivals;  de- 
but as  "  Mandane  "  in  Arne's  "  Arta- 
xerxes,"  Oct.  27,  1836.  B.  Nov.  23, 
1814;  d.  Sept.  22,  1877,  Redland, 
Bristol. 

Bake.  Tive-pronged  instrument 
for  ruling  sheet  music. 

Ball.  Abbreviation  for  RALLEN- 
TANDO. 

Ballentando.  L.  With  gradually 
decreasing  speed. 

Ballentato.     L.     Retarded. 

Bamann    (Lina)    foimded   normal 


schools  for  training  women  as  music 
teachers  in  GlUokstadt  and  Nurem- 
berg; wrote  "Life  of  Liszt,"  musical 
essays,  etc.;  pupil  of  Frau  Brendel  in 
Leipsic.  B.  June  24,  1833,  near  Kit- 
zingen,  Bavaria;  retired  after  1880. 
Bameau  (Jean  Philippe)  discov- 
ered the  law  of  the  inversion  of  chords 
and  wrote  a  valuable  series  of  works 
on  theory;  dominated  the  French 
opera  for  many  years,  ranking  as  the 
foremost  French  composer  between  the 
ages  of  Lulli  and  Gluek.  Son  of  Jean 
Rameau,  organist  of  the  Dijon  Cathe- 
dral, the  lad  was  destined  for  a  legal 
career,  but  he  neglected  all  studies 
save  that  of  music,  and  was  thus  able 
to  read  difficult  harpsichord  music  at 
sight  when  only  seven,  and  soon  mas- 
tered the  violin  and  organ,  but  was 
withdrawn  from  the  Jesuit  College  at 
the  request  of  the  authorities.  At 
eighteen  he  was  sent  to  Italy  to  break 
off  a  love  affair,  where  he  neglected 
the  opportunities  afforded  for  master- 
ing the  Italian  theories  of  music,  to 
his  deep  regret  in  after  life.  For  a 
time  he  played  violin  with  a  wander- 
ing theatrical  company  in  Southern 
France,  then  settled  in  Paris,  where 
he  obtained  employment  as  church 
organist.  Disgusted  in  1717  at  being 
defeated  in  competition  for  the  post  of 
organist  at  St.  Paul's  Church,  he  ac- 
cepted an  appointment  temporarily  at 
Lille,  and  later  went  to  Clermont. 
There  his  brother  Claude  vacated  the 
organ  desk  at  the  Cathedral  in  his 
favor.  During  four  years  in  Clermont 
he  tried  to  make  up  for  his  early 
neglect  of  study,  read  the  then  au- 
thoritative works  on  musical  theory, 
and  after  experiments  with  the  mono- 
chord,  wrote  his  "  Treatise  on  Har- 
mony." This  work,  although  contain- 
ing erroneous  theories  which  he  cor- 
rected in  after  years,  marked  a.  de- 
cided advance  in  the  world's  knowl- 
edge. As  soon  as  he  could  leave  his 
post  at  Clermont,  he  went  to  Paris, 
published  his  book,  which  was  soon 
followed  by  several  controversial 
works,  and  a  "Dissertation  on  the 
different  methods  of  accompaniment 
for  the  harpsichord  and  organ,"  Paris, 
1732.     His  debut  as  a  dramatic  com- 


KAmEAtr 


527 


BANDEGaEB 


poser  was  made  at  the  Theatre  de  la 
Foire,  Feb.  3,  1723,  when  he  produced 
the  dances,  ballets,  and  airs  needed  in 
"  L'Endriague,"  written  by  his  friend 
Alexis  Piron.  The  following  year  he 
published  his  celebrated  "Pieces  de 
Clavecin "  with  a  method  for  finger- 
ing, reprinted  later  with  a  "  table  of 
agremens."  Now  recognized  as  a  lead- 
ing music  master,  and  organist  at  the 
Church  of  Ste.  Croix  de  la  Breton- 
nerie,  Rameau  married  a  pretty  young 
singer,  Marie  Louise  Mangot,  Feb. 
25,  1726.  His  one-act  "  L'EnrClement 
d'Arlequin "  was  produced  at  the 
Theatre  de  la  Foire  almost  before 
the  wedding  festivities  were  over,  and 
a  few  months  later,  his  "  Le  Faux 
Prodigue,"  like  its  predecessor,  in 
lighter  vein,  was  first  performed  at 
the:  same  house.  Having  won  rec- 
ognition, Bameau  now  revealed  his 
ambition  to  attempt  grand  opera. 
After  repeatedly  failing  to  secure  a 
libretto,  he  obtained  the  tragic  text 
"Samson"  from  Voltaire  (whom  he 
greatly  resembled),  only  to  have  it 
forbidden  by  the  authorities  just  as 
the  Acadfimie  was  ready  to  produce 
it.  "  Hippolyte  et  Arieie,"  to  book  by 
Abbe  Pellegrin,  based  on  Eacine's 
"  Phedre,"  was  the  first  of  his  serious 
works  to  obtain  a  hearing,  Oct.  1, 
1733.  The  composer,  who  had  just 
turned  the  half  century,  was  dis- 
couraged by  an  unfavorable  reception, 
and  thought  of  withdrawing  from  the 
theatre.  The  tide  of  sentiment  soon 
turned  in  his  favor.  "Les  Indes  ga- 
lantes,"  produced  at  the  Academic, 
Aug.  23  1735,  and  "Les  Fetes  de 
Hebe,"  May  21,  1739,  established  him 
in  a  position  which  neither  the  at- 
tacks of  the  "LuUists,"  who  objected 
to  having  that  master's  works  super- 
seded, nor  of  the  "Encyclopedists," 
whose  articles  on  music  Rameau  ridi- 
culed, could  shake.  For  the  remainder 
of  his  life  he  grew  in  honors  and  in 
popularity.  He  was  elected  a  member 
of  the  Academie  of  his  native  town, 
exempted  from  taxation  together 
with  his  family  for  all  time,  and 
shortly  before  his  death  was  raised 
to  the  nobility.  A  list  of  his  later 
works  and  the  date  of  their  perform- 


ance at  the  Academic  follows: 
"Dardanus,"  Nov.  19,  1739;  "Les 
Fetes  de  Polymnie,"  Oct.  12,  1745; 
"Le  Temple  de  la  Gloire,"  Dec.  7, 
1745;  "  Zais,"  Feb.  28,  1748;  "  Pygma- 
lion, Aug.  27,  1748;  "Les  Fetes  de 
I'Hymen  et  de  1' Amour,"  Nov.  5, 
1748;  "Platee,"  Feb.  4,  1749; 
"Nais,"  April  22,  1749;  "  Zoroastre," 
Dec.  5,  1749;  "La  Guirlande,  ou 
les  Fleurs  enchantee,"  Sept.  21, 
1751;  "Acanthee  et  Cephiae," 
Nov.  18,  1751;  "Les  Surprises 
d' Amour,"  May  31,  1757;  "Les 
Paladins,"  Feb.  12,  1760.  "Pieces 
de  clavecin  en  concerts  avec  un 
violon  ou  une  flute,"  and  "Nouvelles 
Suites  de  Pieces  de  clavecin "  like- 
wise date  from  this  later  period,  and 
he  composed  the  following  operas  for 
the  court:  "Lysis  et  Delie,"  "Daph- 
nis  et  Egle,"  "Les  Sybarites,"  "La 
Naissance  d'Osiris,"  "Anacreon,"  and 
"  La  Princesse  de  Navarre,"  the  last 
named  to  book  by  Voltaire.  B.  Sept. 
25,  1683,  Dijon;  d.  Sept.  12,  1764. 
See  biographies  by  Adolphe  Adam, 
Fetis,  Poisot,  Pougin,  Chabanon's 
"Eloge,"  1764;  Maret's  "Eloge  his- 
torique,"  1766.  A  complete  edition  of 
his  harpsichord  music  is  published  by 
Steingraber. 

Siamm  (Friedrich)  played  oboe  50 
years  from  1758  in  famous  Bavarian 
Electoral  orchestra;  associate  of 
Beethoven  and  friend  of  Mozart. 
B.  Nov  18,  1744,  Mannheim;  d.  after 
1808. 

Ramsay  (Robert)  composed  ser- 
vices; played  organ  Trinify  College, 
Cambridge,  1628-44. 

Randall  (Br.  Tolin)  composed  two 
Double  Chants,  an  anthem;  played 
organ  King's  College  and  became  prof, 
of  music,  Cambridge  University,  chor- 
ister in  boyhood,  Eng.  Chapel  Royal. 
B.  1715;    d.  March  18,  1799. 

Randall  (Richard)  sang  ten.,  Eng. 
Chapel  Royal,  and  in  oratorios  under 
Handel  when  70.  B.  Sept.  1,  1736;  d. 
April   15,   1828. 

Randall  (William)  published  mu- 
sic with  John  WALSH. 

Randegger  (Alberto)  composed 
the  comic  opera  "  The  Rival  Beau- 
ties," London,   1864;    Psalm  cl.  with 


ItAITBHABTISrOER 


528 


BASVlffOX'X'SKY 


orchestra  and  organ,  Boston  Peace 
Jubilee,  1872;  the  dramatic  cantata 
"  Fridolin,"  Birmingham  Festival, 
1873;  the  scena  "Medea,"  Leipsic, 
1869 ;  "  Saffo,"  London,  1875 ;  the  can- 
tata "  Werther's  Shadow,"  Norwich 
Festival,  1902 ;  wrote  "  Primer  of 
Singing"  (Novello);  taught  Eoyal 
Academy  of  Music, London;  conducted 
Carl  Rosa  Opera  company,  and  Nor- 
wich Festival.  Pupil  of  Lafont  and 
Ricci,  he  had  composed  masses  and 
other  church  music,  and  two  ballets  at 
the  age  of  30.  Then  he  collaborated 
in  the  composition  of  the  buffo  opera 
"II  Lazzarone,"  book  by  Rossi,  which 
was  performed  with  success  at  Trieste. 
Two  years  were  then  spent  as  con- 
ductor in  Italian  cities,  and  in  1854 
he  produced  his  grand  opera  "  Bianca 
Capello "  in  Bresia,  thereafter  tak- 
ing up  his  abode  in  London.  B.  April 
13,  1832,  Trieste;    add.  London. 

Kandhartinger  (Benedict)  was 
the  only  one  of  Schubert's  friends 
who  failed  to  desert  him  in  his  last 
illness,  and  was  responsible  for  the 
composition  of  Schubert's  "SchBne 
MuUerin,"  since  Schubert  borrowed 
the  poems  from  him;  composed  the 
opera  "KBnig  Enzio,"  20  masses,  60 
motets,  symphonies,  and  chamber  mu- 
sic, 400  songs,  in  all  600  and  more 
works;  fellow  pupil  with  Schubert 
at  the  Konvict  school,  Vienna,  he  be- 
came court  chapelmaster  in  1862.  B. 
July  27,  1802;    d.  1894,  Vienna. 

Randolph  (Harold)  directed  the 
PEABODY  CONSERVATORY  OF 
MUSIC,  and  in  1908  was  the  only 
American  musician  wholly  trained  in 
his  own  country  to  have  received  sub- 
stantial recognition;  pupil  of  Nan- 
nette  Falk  Auerbach  and  Carl  Faelten 
at  the  Peabody  Conservatory  of  Music. 
B.  Oct.  31,  18B1,  Richmond,  Va.; 
add.  Baltimore,  Md. 

Banelagh  Gardens,  where  the  boy 
Mozart  gave  his  London  concerts,  were 
located  east  of  Chelsea  Hospital,  on 
the  bank  of  the  Thames.  All  sorts  of 
entertainments  were  given  there,  in- 
cluding organ  and  orchestral  concerts, 
vocal  recitals,  and  masques,  with  mu- 
sic by  Arne.  The  mansion  in  the  gar- 
dens was  built  by  Earl  Ranelagh,  and 


was  used  as  a  public  resort  from  1733 
to  1803. 

Kange.    Compass. 

Hank  of  Pipes.  A  row  of  organ 
pipes  belonging  to  one  stop.  From 
one  to  five  ranks  are  controlled  by  one 
register. 

Sansford  (Edwin)  wrote  and  com- 
posed songs;  sang  bar.;  later  became 
popular  actor  in  minor  rOles.  B. 
Gloucestershire,  1805;  d.  July  11, 
1876,  London. 

Bant.  Obsolete  country  dance; 
name  probably  corrupted  from 
Coranto. 

Banz  des  Vaches.  Flourishes  or 
tunes  played  on  the  cow-horns  by 
Swiss  shepherds  to  call  the  cattle. 

Bapidamente.    It.    Rapidity. 

BapiditS,,  con.   /*.   With  rapidity. 

Bapido.    It.    Rapid. 

Bappoldi  (Eduar^)  composed 
symphonies,  chamber  music;  became 
concertmeister  of  the  Dresden  Opera, 
1876,  and  prof,  of  violin  at  Dresden 
Conservatory;  in  earlier  life  member 
of  the  Joachim  quartet,  and  Joachim's 
colleague  at  the  Berlin  Hochschflle; 
pupil  of  the  Vienna  Conservatory, 
then  chapelmaster  at  Liibeck,  Stettin, 
and  Prague.  B.  Feb.  21,  1839,  Vi- 
enna; add.  Dresden.  Laura  Kahrer 
played  piano;  pupil  of  Dachs  and 
Dessoff  at  Vienna  Conservatory, 
later  of  Liszt  at  Weimar.  B.  1853, 
Vienna;  m.  EDUARD,  1874;  add. 
Dresden. 

Basgado.  Sp.  To  strike  an  ar- 
peggio on  the  guitar  with  a  sweep  of 
the  thumb. 

Bastral  or  Bastrum.     RAKE. 

Basumoffsky  (Andreas  Kyrillo- 
vitoh.)  founded  and  played  in  the  fa- 
mous SCHUPPANAZIGH  quartet;  re- 
ceived the  immortal  distinction  of  the 
dedication  of  string  quartets  in  F 
and  E  minor  and  C,  Op.  59,  by  Bee- 
thoven. Of  peasant  birth,  an  elder 
brother  was  made  a  count  by  Empress 
Elizabeth  of  Russia,  and  Andreas,  be- 
coming Russian  ambassador  at  Vi- 
enna, married  Coimtess  Thun,  elder 
sister  of  Princess  Lichnowsky,  Bee- 
thoven's patroness.  In  1809  Rasu- 
moffsky  shared  the  honour  of  the 
dedication  of  the  C  minor  and  Pastoral 


BATEZ 


529 


BEAD 


fiymphonies   with    Prince   Lobkowitz.  "The  Whole  Booke  of  Psalms,"  Lon- 

In  1815,  prior  to  the  adjournment  of  don,  1621,  including,  much  of  his  own 

the  Congress  of  Vienna,  the  Russian  work  and  "  Pammelia,"  1609,  the  first 

Emperor  made  Rasumoffsky  a  prince.  English  collection  of  catches,  rounds 

B.  Oct.   22,   1752,  Lemeschi,  Russian  and  canons;    chorister  at  St.  Paul's. 


Ukraine;    d.  Sept.  23,  1836. 

Batez    (Emile   F.)   composed  the 


B.  about  1582;   d.  after  1630. 
Bavera    (ITiccolo    Teresio)    corn- 


operas  "  Ruse  d' Amour,"  Besancon,  posed  four  operas ;  conducted  Theatre 
1886;  "Lydfiric,"  Lille,  1895,  "Scfenes  Lyrique,  Paris;  prize  pupil  of  Milan 
her6iques,"  symphonic  poem  with  soli  Conservatory  in  piano,  organ,  and 
chorus  and  orchestra;  directed  Lille  composition.  B.  Feb.  24,  1851,  Ales- 
Conservatory;  pupil  of  Paris  Conser-  sandria,  Italy;  add.  Paris, 
vatoire  under  Bazin  and  Massenet;  Ravlna  (Jean  Henri)  composed  a 
later  viola  player  at  Op^a  Comique  piano  concerto  and  salon  pieces; 
and  chorusmaster  under  Colonne.  B.  toured  Europe  as  piano  virtuoso; 
Nov.  5,  1851,  Besangon;    add,  Lille,  taught  Paris  Conservatoire,  where  he 

Batezza.     L.     Speed.  had   been  prize   pupil;     Chevalier  of 

Bathselcanon.    Qer.    Riddle  the   Legion  of  Honor.     B.   May  20, 

CANON.  1818,   Bordeaux;     retired   1880. 

Batio.     L.     In  Music  Theory  and  Bawivando.     L.     Quickening  or 

ACOUSTICS,  relation  or  proportion,  reviving,  as  il  tempo,  increasing  the 

Battenendo     or     Battenuto.     L.  time. 

Retarding  or  restraining  the  time.  Bawlins   (Thomas)   played  under 

Bauchenecker  (G.  Wilhelm.)  com-  Handel;     organist  Chelsea   Hospital; 

posed  the  operas   "Die  letzten  Tage  pupil  of  Pepusch.     B.  1703;    d.  1767, 

von  Thule,"   "  Ingo,"   "  Sanna,"   "  Le  London.      Bobert   played    violin    in 

Florentin,"    a   symphony;     the   prize  royal  orchestras;    pupil  of  his  father 

cantata    "Niklaus    von    der    Flue,"  THOMAS.       B.     1742;     d.     1814. 

Zurich    Festival ;     directed    Avignon  Thomas  A.  composed  for  and  played 

Conservatory;    conducted  at   Winter-  violin  and  piano;    pupil  of  his  father 

thur,    Berlin    Philharmonic    concerts,  ROBERT,    and    of    Dittenhofer.      B. 


Elberfeld;    pupil  of  Lachner,  Baum 
gartner,  and  Walter.    B.  Mar.  8,  1844, 
Munich;    add.  Elberfeld. 

Bauco.     L.    Harsh,  rough. 

Bauscber.       Q-er. 
repeated, 


1775;    d.  after  1820. 

Bay.    RE.. 

Baymond    and    Agnes.      E.    J. 

Loder's  English  opera  to  book  by  E. 

Notes    rapidly   Fitzball  was  first  performed  June  11, 

1859,     at     the     London     St.     James 


Bauschwerk.     Oer.  Organ  stop  of  Theatre, 

two  ranks  of  pipes  sounding  the  12th  Be.     French  and  Italian  name  of 

and   15th.     The  prefix  has  the  same  the  note  D,  and  the  syllable  used  for 

meaning    combined  with    the    words  that  note  in  solmisation. 

Pfeif,  Flote,  Quint,  or  Pipe.  Bea  (William)  composed  anthems, 

Bauzzini     (Venanzio)     composed  organ  pieces,  songs;    founded  London 

operas  and  chamber  music;    gave  con-  Polyhymnian  Choir,  Newcastle  Ama- 

certe    in    London    and    Bath;     sang;  teur     Vocal     Society;      gave     organ, 

taught  vocal.    B.  Rome,  1747 ;  d.  Bath,  piano,   and   orchestral   concerts; 

1810     MATTEO  composed  and  taught  played    organ   m   various    Newcastle, 

vocal  in  London  and  Dublin.    B.  1754,  churches,    to    the     Corporation,    and 


Rome; 
1791. 
Bavanastron. 


brother    of    VENANZIO;   d. 


Primitive 


from    1878    at    St.    Hilda's,    South 

Shields;    pupil  of  Pittman,  Stemdale 

violin   Bennett,     Moscheles,     Richter,     and 


said  to  have  been  played  in  Ceylon  for   Dreyschock.     B.   Mar.   25,   1827;    re- 
the  past  5000  years.  ,    tired  1890  j     *       .  ^ 

Bavenscroft      (John)      composed       Bead  (Daniel)   composed;  taught, 
hornpipes;    played  violin.    D.  1740.       B.    1757,   Rehoboth,  Mass.;     d.   1836, 

Bavenscroft   (Thomas)   published   New  Haven,  Conn. 

34 


BEADiira 


530 


RECITATIVE 


Beading  (John)  composed  the 
"Dulce  Domvtm"  for  Winchester 
School;  Master  of  Choristers,  Lin- 
coln Cathedral;  organist  Winchester 
Cathedral  and  College,  1675  and  1681. 
D.  1692.  John  composed  "A  Book 
of  New  Songs,"  "  A  Book  of  New  An- 
thems," claimed  to  have  composed 
"  Adeste  Fidelis  " ;  organist  Dulwich 
College ;  Master  of  Choristers,  Lincoln 
Cathedral ;  organist  at  several  London 
churches ;  in  boyhood  chorister  in  Eng. 
Chapel  Royal  under  Dr.  Blow.  B.  1677 ; 
d.  Sept.  2,  1764.  John  played  organ 
Chichester  Cathedral,  1674-1720.  Rev. 
John  published  "  A  Sermon  Concern- 
ing Church  Musick,"  1663;  preben- 
dary, Canterbury  Cathedral. 

Real  Fugue.     Strict  FUGUE. 

Reay  (Samuel)  composed  part- 
songs,  anthems,  madrigals,  morning 
and  evening  service  in  F,  Psalm  cii, 
with  string  orchestra;  played  organ 
Newcastle  and  other  churches;  be- 
came organist  and  schoolmaster  New- 
ark parish  church,  1864;  pupil  of 
Henshaw  and  Penson,  and  in  boyhood 
chorister  Durham  Cathedral.  B. 
Mar.  17,  1828,  Hexham. 

Rebab.     EJEBECK. 

Rebeck  or  Rebec.  Obsolete  three- 
stringed  instrument  of  viol  family, 
probably  introduced  into  Europe  from 
the  Orient,  where  it  is  still  found,  by 
the  Moors  of  Spain. 

Rebel  (Jean  Ferry)  composed 
violin  sonatas  and  ballet  music,  one 
of  the  "  24  violins  "  and  composer  to 
the  King  of  France.  B.  1669,  Paris; 
d.  1747,  Paris.  FRANCOIS  com- 
posed "  Pyrame  et  Thisbe,"  Acadfimie, 
1726,  and  many  other  operas  with  his 
friend  Francis  FRANCCEUR,  with 
whom  he  was  associated  as  leader  and 
manager  of  the  Acad€mie,  and  later 
as  Surintendant  of  Music  to  Louis 
XIV,  who  made  them  Chevaliers  of 
St.  Michel;  son  and  pupil  of  JEAN 
FERRY;  entered  Op6ra  as  violinist 
at  13,  and  composed  the  ballet  music 
named  for  Mile,  de  Camargo.  B. 
June  19,  1701;    d.  Nov.  7,  1775. 

Rebello  (Joao  Soares  Lourengo) 
composed  church  and  secular  music. 
B.  1609,  Caminha,  Portugal;  d. Nov. 
16,  1661;    San  Amaro. 


Re  Bemol.     Fr.   D  flat. 
Re  Bfimol  Majeur.    Key  of  D  flat 
major. 

Reber  (Napoleon  Henri)  wrote 
the  famous  "Traits  d'Harmonie," 
1862,  long  the  French  standard  work 
on  the  subject;  taught  composition 
in  the  Paris  Conservatoire  in  succes- 
sion to  Hal6vy,  1862;  composed  the 
ballet  "  Le  Diable  Amoureux,"  the 
opgra  comique  "  La  Nuit  de  Niiel," 
1848,  five  other  operaa,  four  sym- 
phonies, the  cantata  "  Roland,"  much 
chamber  music,  songs;  pupil  of  the 
Paris  Coiiservatoire,  member  of  the 
Institute.  B.  Oct.  21,  1807,  Mul- 
hausen;  d.  Nov.  24,  1880,  Paris. 
Rebibe.  Small  REBECK. 
Rebicek  (Josef)  became  conductor 
Berlin  Philharmonic  orchestra,  1897; 
having  served  as  concertmeister  at 
Wiesbaden,  director  of  the  Warsaw 
Opera  and  conductor  the  Pest  Na- 
tional Theatre;  violin  pupil  Prague 
Conservatory.  B.  Feb.  7,  1844, 
Prague;    add.  Berlin. 

Recheat.      Hunting  signal  for  re- 
call of  hounds. 

Recht  Hand.    Ger.  "Right hand." 
Recit.     Fr.     Solo  part;    principal 
of  several  parts. 

Recitando.  It.  In  RECITATIVE 
style. 
Recitatif.  Fr.  RECITATIVE. 
Recitative.  With  the  beginning 
of  opera  in  Italy,  recitative  was  de- 
veloped in  imitation  of  the  musical 
declamation  of  the  Greek  theatre. 
Free  declamation  continued  to  serve 
for  the  ordinary  dialogue  of  opera 
from  the  days  of  Caccini,  Peri  and 
Monteverde,  melodious  set  pieces  be- 
ing reserved  for  the  more  impas- 
sioned utterances,  until  Wagner's  so- 
called  reforms.  The  ideal  of  the 
Bayreuth  School,  as  set  forth  by  its 
founder  is  "recitative  which  is  aria 
and  aria  which  is  recitative,"  with 
the  orchestra  aiding  in  enforcing  and 
illustrating  the  narrative,  instead  of 
serving  merely  as  accompaniment. 
In  view  of  the  development  of  the 
modern  orchestra  this  is  perhaps  the 
nearest  approach  to  the  Aria  Parlante 
of  the  Itelian  Renaissance  now  pos- 
sible,  but  it   should  be   remembered 


B.ECITATIVO 


531 


BEESS 


that  the  instruments  employed  in  the 
Greek  Theatre  were  incapable  of  giv- 
ing even  what  the  Zukunftsmusikers 
were  pleased  to  call  "  a  big  guitar  ac- 
companiment." In  the  Recitative 
Secco  or  Parlante  of  Italian  opera, 
the  orchestra  sounds  only  a  few 
chords  to  enable  the  singer  to  hold  to 
the  key.  The  elaborately  accompa- 
nied recitative  was  characterized  as 
Stromentato,  "  instrumented  " ;  Con 
Accompagnamento,  "  with  accompani- 
ment " ;  or  Obbligato,  "  where  the  ac- 
companiment is  necessary."  In  ora- 
torio as  in  opera,  the  singer  is  allowed 
great  freedom  in.  the  delivery  of  Rec- 
itative unless  tempo  is  strictly  marked. 
,  Hecitativo.     L.     RECITATIVE. 

Keciting  Note.  That  on  which  the 
greater  part  of  a  verse  is  declaimed 
in  GREGORIAN  CHANT. 

B«corder.  Obsolete  English  name 
for  flageolet  and  flute. 

Becte  et  Bectro.  L.  "Forward 
and  backward."  Term  applied  to  cer- 
tain kinds  of  CANON. 

Bedeker  (Louise  Dorette  Au- 
guste)  sang  con.  at  the  Gewandhaus 
and  other  chief  concerts  of  both  Ger- 
many and  England;  pupil  of  Ko- 
newka,  Leipsic  Conservatory.  B.  Jan. 
19,  1853,  Duingen,  Hanover;  retired 
on  her  marriage,  Oct.  19,  1879. 

Bedford  (Joh.n)  composed  an- 
thems, organ  pieces;  organist  and 
Master  of  Choristers,  St.  Paul's,  Lon- 
don, 1491-1547. 

Be  Diese.     Fr.     D  sharp. 

Bedita.     L.     Repeat  or  return. 

Bedondillas.    Sp.   ROUNDELAYS. 

Bedoublement.  Fr.  Doubling  a 
part  or  interval. 

Bedoutensaal  is  the  name  of  a 
Vienna  building  containing  a  large 
and  a  smaller  auditorium  formerly 
used  for  public  dances  and  entertain- 
ments. It  is  attached  to  the  imperial 
palace,  and  from  1748  to  1870  was  the 
scene  of  many  concerts.  Mozart, 
Haydn  and  Beethoven  composed  for 
the  orchestra  which  played  at  the 
dances. 

Bedowak,  Bedowazka,  Bedowa. 
Bohemian  dance  which  originally  al- 
ternated from  2-4  to  3-4  time.  As 
now  danced  it  resembles  a  polka. 


Beductio  Uodi.  L.  Transposi- 
tion of  a  mode  to  the  modern  scale; 
restoration  to  original  pitch  of  a 
transposed  mode. 

Beed  stops  are  ORGAN  stops  com- 
posed of  pipes  having  reeds. 

Beed  (Thomas  German)  composed 
and  arranged  theatre  music  and  songs 
and  the  scores  of  the  many  operettas 
produced  as  "Mr.  and  Mrs.  Reed's 
Entertainments"  at  the  London  Gal- 
lery of  Illustration;  first  performed 
Beethoven's  Mass  in  C  in  England 
while  chapelmaster  of  the  Royal  Ba- 
varian Chapel;  played  organ  and 
piano;  pupil  of  his  father,  who  was 
conductor  at  the  Haymarket.  B. 
June  27,  1817,  Bristol;  d.  Upper 
East  Sheen,  Surrey,  '1888.  Priscilla 
Horton  began  a  successful  dramatic 
career  at  ten,  playing  light  rSles  later 
at  Drury  Lane  and  Covent  Garden 
with  Macready;  merging  her  career 
with  that  of  THOMAS  GERMAN 
after  her  marriage  to  bin),  Jan.  20, 
1844.  B.  Jan.  1,  1818,  Birmingham; 
d.  1885.  Alfred  Oennan  continued 
the  entertainments  established  by  his 
parents  THOMAS  GERMAN  and 
PRISCILLA.  D.  1895.  Bobert 
Hopke  and  William  played  'cello. 
Brothers  of  THOMAS  GERMAN. 

Beeds  are  employed  to  set  up  vi- 
bration in  the  enclosed  air  colimins  of 
organ  pipes,  harmoniums,  and  reed 
orchestral  instruments  for  the  pro- 
duction of  musical  sounds.  Although 
metal  and  many  fibrous  materials  are 
now. used  in  making  reeds,  the  name 
derived  from  a  tall  grass  or  cane  is 
retained.  A  thin  strip  of  this  cane 
so  inserted  in  the  mouthpiece  of  a 
clarinet  as  to  overlap  the  air  passage 
and  vibrate  against  it,  is  a  type  of 
the  Single  Beating  Reed.  The  OBOE 
and  Bassoon  are  provided  with 
Double  Reeds,  while  the  metal  reeds 
of  the  concertina  and  harmonium,  so 
cut  as  to  pass  freely  in  and  out  of  the 
aperture  in  the  plate  to  which  they 
are  attached,  are  examples  of  Free 
Reeds.  Most  writers  on  ACOUSTICS 
assume  that  a  vibrating  membrane  in 
the  himian  larynx  serves  as  a  reed 
in  voice  production.  The  vibration 
of  the  membrane  of  the  lip  in  EM- 


BEEL 


532 


SEHEABSAL 


BOUCHERE  serves  the  purposes  of 
reed  in  playing  instrumenta  of  the 
horn  family. 

Beel.  Lively  country  dance  of 
Scandinavian  origin  resembling  the 
Danish  kreol,  surviving  in  Yorkshire, 
Eng.,  as  the  Sword  Dance,  where  the 
music  is  that  of  a  hornpipe;  in  Ire- 
land, where  it  is  very  fast;  and  in 
Scotland,  where  there  are  two  varie- 
ties, the  slow  Strathspey  and  the 
livelier  "  Scotch  "  reels,  of  which  that 
of  Thulichan  or  Tulloch  is  a  type. 

Beeve  (William)  composed  songs 
and  operettas  and  adapted  dramatic 
compositions  for  Sadler's  Wells  The- 
atre, of  which  he  was  part  proprietor, 
B.  1757;    d.  June  22,  1815. 

Beeves  (John  Sims)  sang  such 
bar.  rOles  as  Budulpho  in  "  Sonnam- 
bula,"  debut  1839  at  Newcastle,  later 
developing  into  one  of  the  most  noted 
of  English  tenors,  creating  Lyonnel  in 
Balfe's  "Maid  of  Honor,"  and  dis- 
tinguishing himself  at  English  festi- 
vals, retaining  his  voice  more  than  50 
years,  and  actually  touring  South 
Africa  with  success  at  78.  Son  and 
pupil  of  a  musician,  he  became  organ- 
ist at  Korth  Cray  at  14,  studied  vocal' 
with  Hobbs  and  Cooke,  piano  and 
theory  with  Cramer  and  Callcott; 
then  completed  his  education  with 
Bordogni,  Paris  and  Mazzucato,  Mi- 
lan, where  he  sang  at  La  Scala.  B. 
Sept.  26,  1818,  Woolwich;  d.  Oct.  25, 
1900,  London.  See  "  Life  and  Recol- 
lections," London,  1888.  Emma  Lu- 
combe  sang  in  opera  and  concert; 
taught  vocal;  pupil  of  Mrs.  Blane 
Hunt.  M.  JOHN  SIMS,  1850.  Her- 
bert made  his  debut  as  singer  June 
12,  1880,  London,  having  studied 
with  his  father,  JOHN  SIMS,  and  in 
Milan. 

Beformation.  Symphony.  Felix 
Mendelssohn's  work  in  D  minor,  com- 
posed for  the  Tercentenary  Festival  of 
the  Augsburg  Confession  of  Faith,  was 
first  performed  Nov.,  1832,  in  Berlin, 
two  years  later,  the  composer  conduct- 
ing. "Ein  Peste  Burg,"  the  most 
authentic  of  the  hymns  attributed  to 
Luther,  is  the  basis  of  the  Finale. 

Befrain.  BURDEN  or  CHORUS 
of  a  BALLAD. 


Begales  de  Bois.  Fr.  XYLO- 
PHONE. 

Begals,  Bigoles,  Bigals.  Obso- 
lete   names   for   Portative   ORGANS. 

Begel  der  Octav.  Ger.  RULE  OF 
THE    OCTAVE. 

Begina  Coeli.  L.  "Queen  of 
Heaven."  The  name  of  a  hymn  to 
the  Blessed  Virgin. 

Begister  means,  in  the  broadest 
sense,  all  the  pipes  belonging  to  a 
given  stop,  but  is  properly  only  the 
handle  or  knob  bearing  the  stop's 
name ;  hence  "  Registration  "  is  the 
combination  of  various  stops  made  by 
pulling  out  the  handles  or  knobs. 

Begister,  XTpxwr  and  Lower,  re- 
fers to  COMPASS  of  instruments. 

Begister,  Vocal.  Classification  of 
the  voice,  as  by  Soprano  Register  or 
Tenor  Register,  or  of  a  portion  of  the 
voice,  as  Head  Register,  Chest  Reg- 
ister. 

Begistre.     Fr.     REGISTER. 

Begistrieuug.  Ger.  REGISTRA- 
TION. 

Begle  de  I'Ootave.  Fr.  RULE  OF 
THE  OCTAVE. 

Begular  Form.      Strict  FORM. 

Begular  Fugue.      Strict  FUGUE. 

Begular  UotioiL.  Similar  MO- 
TION. 

Begulation.  Adjustment  of  the 
touch  in  keyboard  instruments. 

Begondl  (Ouido)  toured  every 
court  in  Europe  as  guitar  virtuoso 
before  reaching  the  age  of  nine;  af- 
terwards popularized  the  Concertina, 
for  which  he  composed  "  Les  Oiseaux  " 
and  two  concertos.  B.  1822,  Geneva; 
d.  May  6,  1872. 

Behberg  (Willy)  composed  violin 
sonata,  piano  sonata,  etc.;  conducted 
at  Altenberg,  1888-90,  then  became 
piano  teacher,  Geneva  Conservatory, 
and  in  1892  conductor  Geneva  Munici- 
pal orchestra;  pupil  of  his  father,  the 
Zurich  Music  School,  and  Leipsic 
Conservatory.  B.  Sept.  2,  1863,  , 
Merges,  Switzerland;    add.  Geneva. 

Behearsal.  Practice  of  a  work  to 
be  performed  in  order  to  attain  rela- 
tive perfection  of  ensemble  —  too  often 
honoured  in  the  breach.  Full  rehear- 
sals are  those  at  which  the  soloists, 
chorus,   and   complete   orchestra   at- 


BEICHA 


533 


KEINAaLE 


tend.  BresB  rehearsals  are  those  in 
which  members  of  the  cast  appear  in 
costume,  and  like  the  Public  Rehear- 
sals are  really  complete  preliminary 
performances. 

Reicha  (Joseph)  composed;  played 
'cello;  conducted.  B.  1746,  Prague; 
d.  1795,  Bonn.  Anton  Joseph  wrote 
many  ingenious  works  on  theory  such 
as  his  "Traits  de  haute  composition 
musicale,"  Paris,  1818,  since  super- 
seded as  unsound;  taught  counter- 
point and  fugue  at  the  Paris  Conser- 
vatoire with  great  success  from  that 
year;  composed  20  string  quartets, 
24  quintets  for  flute,  oboe,  clarinet, 
bassoon  and  horn  and  much  other 
chamber  music  strikingly  harmonized ; 
likewise  composed  "  Obaldi,"  "  Cagli- 
ostro,"  Paris,  1810,  "Sapho,"  Paris, 
1822,  and  other  now  forgotten  operas. 
Adopted  by  his  uncle  JOSEPH,*  young 
Beicha  was  associated  with  Beethoven 
in  the  Bonn  electoral  orchestra,  and 
in  1802-8  was  the  intimate  of  that 
composer,  as  well  as  of  Salieri,  Haydn 
and  Albrechtsberger  in  Vienna.  There 
he  dedicated  his  "  36  fugues  pour  le 
piano "  to  Haydn.  On  settling  in 
Paris  he  became  naturalized,  was  made 
Chevalier  of  the  Legion  of  Honor, 
and  member  of  the  Institut.  B.  Feb. 
27,  1770,  Prague;  d.  May  28,  1836, 
Paris.  See  "  Notice  sur  Keicha,"  De- 
laire,  Paris,  1837. 

Seicbardt  (Alexander)  composed 
"  Thou  art  so  near,"  and  other  popular 
songs;  sang  ten.  in  opera,  and  in 
early  life  in  the  Esterhazy  chapel; 
noted  for  interpretations  of  Schubert 
and  Beethoven;  fotmded  Boulogne 
Philharmonic  Society.  B.  April  17, 
1825,  Packs,  Hungary;  d.  1885,  Bou- 
l<^e-8ur-Mer. 

Keichardt  (Johan^  Friedrich)  be- 
came court  composer  and  chapelmas- 
ter  to  Frederick  the  Great  at  24;  was 
dismissed  by  Frederick  Wilhelm  II, 
served  as  chapehnaster  for  a  time  to 
Jerome  Bonaparte;  composed  eight 
successful  Singspiel,  including  "  Jerry 
und  Blately,"  "Erwin  und  Elmire," 
"  Claudine  von  Villabella,"  and 
"Lilla"  to  Goethe's  poems,  many 
popular  songs,  five  large  vocal  works 
including  "Morning  Hymn,"  by  Mil- 


ton; wrote  critical  and  historical 
works  on  music;  pupil  of  Veichtner, 
Benda,  and  KSnigsberg  University.  B. 
KSnigsberg,  Nov.  25,  1752;  d.  July 
17,  1814,  on  his  estate,  Giebichenstein, 
near  Halle. 

Reicher-Kiudermann  (Hedwig) 
sang  sop.  in  opera,  rSles  ranging  from 
"Pamina"  and  "Agathe"  to  « Fi- 
delio,"  "Erda,"  and  "  Brunnhilde  " ; 
debut  in  Munich  Opera  in  childhood, 
as  one  of  the  boys  in  the  "  Meister- 
singfer."  B.  Munich,  July  15,  1-853; 
daughter  of  the  singer  KINDER- 
MANN;  m.  Emanuel  Reicher;  d. 
June  2,  1883,  Trieste. 

Keichmann  (Theodore)  sang  bar. 
in  opera,  creating  the  rSle  of  Amfortas 
in  "  Parsifal  "  at  Bayreuth ;  sang  at 
Vienna  court  opera  1882-9,  Metro- 
politan Opera  House,  New  York, 
1889-90,  then  returned  to  Vienna; 
pupil  of  Mantius,  Elsler,  Reiss  and 
Lamperti.  B.  Mar  18,  1849,  Rostock; 
add.  Vienna. 

Beid  (General  John)  bequeathed 
his  $350,000  estate  to  found  the  pro- 
fessorship of  music  at  Edinburgh  Uni- 
versity, which  bears  his  name;  was 
noted  as  an  amateur  of  music  during 
long  service  as  Colonel  of  the  88th 
Regiment,  British  Army.  B.  about 
1721,  Stralooh,  Perthshire;  d.  1807, 
London.  The  Ileid  Concerts  in  Edin- 
burgh, held  primarily  in  honour  of 
Gen.  Reid's  birthday,  are  an  out- 
growth of  the  bequest  referred  to. 

Keihen  or  Beigen.  Qer.  Round 
dance. 

Beimann  (Heinrich)  composed  so- 
natas and  organ  studies;  wrote  criti- 
cism; became  assistant  Royal  Libra- 
rian, 1887;  taught  organ  and  the- 
ory, Scharwenka-Klindworth  Conser- 
vatory; played  organ  Gnadenkirche 
from  1895;  pupil  of  his  father.  B. 
Mar.  14,  1850,  Rengensdorf;  add. 
Berlin. 

Beinagle  (Joseph)  composed  vio- 
lin and  'cello  concertos,  quartets; 
wrote  "A  Treatise  on  the  Violon- 
cello"; played  'cello  in  London  con- 
certs under  Haydn.  B.  Portsmouth; 
lived  in  Dublin  1785-87.  Hugh 
played  'cello.  Younger  brother  of 
JOSEPH;     d.    Lisbon.     Alexander 


BEINECKE 


534 


KEISS 


Kobert  composed  church  music; 
played  organ  at  Oxford.  B.  Aug.  21, 
1799,  Brighton;  son  of  JOSEPH; 
d.  near  Oxford  April,  6,  1877. 

Beiuecke  (Karl  Helnrich  Cars- 
ten)  conducted  the  Gewandhaus  con- 
certs, Leipsie,  1860-95;  played  pi- 
ano; taught  piano  and  composition, 
Leipsie  Conservatory  until  1897  when 
he  became  "  director  of  studies  ";  com- 
posed three  sonatas  and  an  F  sharp 
minor  concerto  for  piano;  chamber 
music,  the  five-act  opera  "  KSnig  Man- 
fred," three  one-act  operas,  incidental 
music  to  Schiller's  "Tell,"  the  fairy 
opera  "  Die  Teufelchen  auf  der  Him- 
melswiese,"  1899,  the  oratorio  "  Bel- 
sazar,"  the  cantatas  "  Hakon  Jarl  " 
and  "  Die  Flucht  nach  Aegypten " ; 
five  fairy  cantatas,  the  overtures 
"Dame  Kobold,"  "Aladin,"  "Fridens- 
feier,"  Festouverture  and  "  In  Memo- 
riam"  to  David;  symphonies,  masses, 
20  canons  for  three  women's  voices; 
many  arias,  songs  for  children,  part- 
songs,  and  educational  works.  Son 
and  pupil  of  a  music  teacher,  he  made 
his  debut  as  a  pianist  at  11,  toured 
Europe  with  success,  became  court 
pianist  to  the  King  of  Denmark,  and 
before  settling  in  Leipsie,  taught  in 
the  Cologne  Conservatory,  conducted 
the  Barmen  Gesellschaft,  and  in 
1859  became  director  of  music  at 
Breslau  University.  His  last  notable 
works  were  "Zenobia,"  for  chorus 
and  orchestra,  and  a  funeral  march 
for  Emperor  William  I.  Besides  the 
title  "Royal  Professor,"  B^inecke 
held  the  degree  Dr.  Phil,  from  Leipsie 
University.  B.  June  23,  1824,  Al- 
tona. 

Keine  de  Chjrpre.  J.  F.  F.  E. 
Halevy's  five-act  opera,  to  book  by 
Saint-Georges,  was  first  performed 
Dec.  22,  1846,  at  the  Paris  Opfira. 

Keine  de  Saba.  Charles  F. 
Gounod's  four-act  opera,  to  book  by 
Barbier  and  Carrfi,  known  as  "  Irene  " 
in  the  English  version,  was  first  per- 
formed Feb.  28,  1862,  at  the  Paris 
Opera.  Goldmark's  opera  on  this  sub- 
ject is  described  as  "  KONINGIN 
VON  SABA." 

Heine  Topaze.  Victor  Masse's 
three-act  bpgra  cotnique,  to  book  by 


Lockroy  and  Battes,  was  first  per- 
formed Dec.  27,  1856,  at  the  Paris 
Theatre  Lyrique. 

Keing^reifen.  Oer.  To  play  with 
pure  intonation. 

Beinbard  (B.  Frangois)  published 
music  in  Strassburg  about  1800,  and 
is  said  to  have  been  first  to  stereotype 
music  plates. 

Belnbold  (Hugo)  composed  cham- 
ber music  and  songs;  prize  pupil 
Vienna  Conservatory.  B.  Mar.  3, 
1854;    add.  Vienna. 

Belnbold  (Tbomas)  created  many 
r81es  in  oratorio  under  Handel.  B. 
1690,  Dresden;  d.  1751,  London. 
Cbarles  Frederick  sang  bass  in 
English  concerts  and  opera.  B.  1737; 
son  of  THOMAS;  d.  Sept.  29,  1815, 
Somers  Town. 

Beinicke  or  Beinken  (Tobann 
Adam)  played  organ  at  the  Hamburg 
Catherine  Church  68  years  from 
1654;  was  greatly  admired  by  the 
youthful  J.  S.  Bach;  composed  the 
chorale  "  An  Wasserflussen  Babylons," 
four  other  organ  pieces  and  "  Hortus 
Musicus "  for  two  violins,  viola  and 
bass;  pupil  of  Swelinck,  Amsterdam. 
B.  April  27,  1623,  Deventer,  Holland; 
d.  Nov.  24,  1722,  Hamburg. 

Beinsdorf  (Otto)  wrote  on  music, 
edited  publications.  B.  1848,  Kose- 
Utz;    d.  1890,  Berlin. 

Beintbaler  (Karl)  compqsed 
"  Jeptha,"  an  oratorio,  "  Edda,"  an 
opera,  Bremen,  1875,  "  Bismarek- 
hymn"  which  captured  the  Dortmund 
prize,  symphony,  part-songs;  played 
organ  Bremen  Cathedral;  conducted 
Bremen  Private  Concerts.  B.  Oct. 
13,  1822,  Erfurt;   d.  1896,  Bremen. 

Beisenauer  (Alfred)  played  piano 
in  virtuoso  tours  of  Europe  and 
America;  pupil  of  Kohler,  then  of 
Liszt,  with  whom  he  made  his  debut 
in  Rome,  1881;  composed  piano 
pieces.  B.  Nov.  1,  1863,  KBnigsberg; 
d.  Oct.  3,  1907,  Libau. 

Beiss  (Albert)  sang  ten.  in  opera 
noted  for  interpretations  of  "  Mine  " 
and  "  David  " ;  debut  at  KBnigsberg, 
and  since  1902  with  New  York  Metro- 
politan Opera  House;  pupil  of  Lie- 
bau  and  Stolzenberg.  B.  Berlin;  add. 
New  York. 


BEISSIGEB 


535 


BENATTD 


Seissiger  (Cliristian  Gottlieb) 
composed  three  symphonies,  pub- 
lished, 1790.  Karl  Gottlieb  com- 
posed "Dido"  and  other  operas,  10 
masses,  songs,  probably  composed 
"  Weber's  Last  Waltz  " ;  succeeded 
Marsehner  and  Weber  in  their  posts 
at  Dresden  operas.  B.  near  Witten- 
berg, Jan.  31,  1798;  son  of  CHRIS- 
TIAN GOTTLIEB;  d.  Nov.  7,  1859, 
Dresden.  Erledrich  August  com- 
posed; conducted  military  bands.  B. 
1809,  Belzic;  son  of  CHEISTIAN 
GOTTLIEB;    d.  1883,  Frederiekshald. 

Seissmann  (August)  wrote 
"From  Bach  to  Wagner,"  Berlin, 
1861,  "History  of  German  Song," 
lives  of  composers;  composed  three 
operas,  an  oratorio,  concerto  and  suite 
for  violin,  completed  Mendel's  lexi- 
con; lectured  at  Stern  Conservatory, 
Berlin,  1863-80,  became  Dr.  Phil. 
Leipsjc,  1875.  B.  Nov.  14,  1825;  re- 
tired after  1882. 

Relation  is  a  vague  term  covering 
the  connection  between  notes,  keys, 
chords  or  the  movements  of  a  work. 

Kelatio  Non  Harmonica.  L. 
FALSE  RELATION. 

Relative  Chord.  CHORDS  having 
several  notes  in  common  are  said  to 
be  in  Direct  relation.  Widely  con- 
trasting chords,  such  as  those  of  the 
Dominant  and  Tonic,  are  said  to  be 
Indirectly  related,  as  their  roots  are 
a  fifth  apart. 

Relative  Keys  are  those  whose 
Tonic  Chord  is  a  RELATIVE  CHORD. 
The  relative  major  key  of  a  given 
minor  key  has  its  tonic  a  third  above ; 
while  the  relative  minor  of  a  given 
major  key  has  its  tonic  a  minor  third 
below. 

Relfe  (Iiupton)  played  organ  50 
years  at  Greenwich  Hospital.  D. 
1805.  JOHN  composed  the  popular 
-song  "Mary's  Dream,"  ^iano  pieces; 
wrote  on  theory;  played  in  the  King's 
Band;  pupil  of  his  father  LUPTON 
and  of  the  organist  Keeble.  B.  1766; 
d.  1837,  London. 

Religioso.     L.     Religiously. 

Rellstab  (Johann  Karl  Fried- 
rieli)  founded  a  Berlin  vocal  society, 
later  merged  in  the  Singakademie ; 
published  music;     wrote  books    and 


criticism;  composed  an  opera.  Pas- 
sion, Te  Deum,  Mass,  three  cantatas, 
symphonies,  marches,  etc.  B.  Feb.  27, 
1759,  Berlin;  d.  Aug.  19,  1813,  Char- 
lottenberg.  Eeinrich  Eriedrlch 
Iiudwig  wrote  musical  novels,  essays, 
criticisms,  and  was  imprisoned  for 
libel ;  composed  part-songs.  B.  April 
13,  1799,  Berlin;  son  of  JOHANN 
KARL  FRIEDRICH;  d.  Nov.  28, 
1860,  Berlin.  Caroline  became  noted 
for  the  great  compass  of  her  voice. 
B.  April  18,  1793;  daughter  of 
JOHANN  KARL  FRIEDRICH. 

Remenyi  (Eduard)  became  one  of 
the  most  famous  of  modem  violinists, 
composed  a  concerto  for  that  instru- 
ment and  many  transcriptions;  was 
a  man  of  wide  information  and  much 
culture,  but  afflicted  with  an  incur- 
able "wanderlust"  which  nearly 
ruined  his  career.  Pupil  of  Bohm 
(Joachim's  master)  at  the  Vienna 
Conservatory,  he  became  adjutant  to 
Gteneral  Gorgey  in  the  Hungarian 
Revolution  of  1848,  was  banished; 
toured  America  with  success,  then 
became  associated  for  a  time  with 
Liszt  at  Weimar;  was  made  .court 
violinist  to  Queen  Victoria;  pardoned 
by  thie  Emperor,  1860,  and  made  court 
violinist;  again  set  out  upon  his 
travels,  which  ended  only  with  his 
life.  His  letters  have  been  published, 
and  throw  much  light  on  such  curious 
subjects  as  "  Hindoo  Music."  B. 
Hungary,  1830;  d.  of  apoplexy  on 
concert  stage,  San  Francisco,  May  15, 
1898. 

Remote.     Unrelated. 

Remplissage.  Pr.  "  Padding " 
or  filling  in;    intermediate  part, 

Renaud  (Albert)  composed  the 
fairy  opera  "Aladin,"  1891;  the 
op€ra  comique  "A  la  Houzarde," 
1891;  the  operetta  "Le  Soleil  de 
Minuit,"  1898;  played  organ,  St. 
Francis  Xavier,  Paris;  wrote  music 
criticism  for  "La  Patrie,"  Paris; 
pupil  of  Delibes  and  Cesar  Pranek. 
B.  1855,  Paris;    add.  Paris. 

Renaud  (IVEaurice  Arnold)  sang 
bass  in  opera,  debut  as  "  Karnac  "  in 
"Le  Roi  d'Ys,"  Paris  Opfira Comique, 
Oct.  12,  1890,  and  the  following  year 
at  the   Opera   as  "Nelusko,"   having 


BEITDAITO 


536 


KESFONSOBIA 


previously  created  the  rdles  of  the 
High  Priest  and  of  Hamilcar  in 
Beyer's  "Sigurd"  and  "Salammbo" 
in  Brussels,  where  he  was  engaged 
from  1883  to  1890.  "Telramund," 
"Wolfram,"  "De  Nevers,"  "  Beck- 
messer,"  "lago,"  "Hamlet,"  "Rigo- 
letto,"  "Valentine,"  "Herod,"  "Es- 
camillo,"  etc.,  are  a  few  of  the  50 
rSles  he  is  said  to  have  acquired. 
From  1897  he  was  a  favourite  at  Co- 
vent  Garden,  and  from  1907  at  the 
Manhattan  Opera  House,  New  York. 
Eenaud  was  a  pupil  first  of  the  Paris 
Conservatoire,  then  of  the  Brussels 
Conservatory.  B.  1862,  Bordeaux; 
add.  Paris. 

Bendano  (Alfonzo)  played  piano, 
noted  as  interpreter  of  Bach;  pupil 
Naples  and  Leipsic  Conservatories. 
B.  Carolei,  near  Cosenza,  April  5, 
1853;    add.  Naples. 

Benversement.     Fr.    Inversion. 

Benvoi.    'Fr.     REPEAT. 

Be  Pastore.  W.  A.  Mozart's  set- 
ting of  Metastasio's  dramatic  cantata 
was  composed  in  honour  of  Archduke 
Maximilian,  and  first  performed 
April  23,  1775,  at  Salzburg. 

Bepeat.  Two  or  four  dots  in  the 
spaces  of  the  sta£f  indicate  that  the 
passage  so  marked  is  to  be  played 
through  twice.    See  NOTATION. 

Bepetition.  Rapidly  repeating  a 
tone  or  chord. 

Bepetition.     Fr.     Rehearsal. 

Bepetizione.  It.  Repetition; 
Senza,  without  repeating. 

Beplica,  con.  L.  "  With  repeti- 
tion "     Senza,  "  without  repetition." 

Beplicato.     L.     Repeated. 

Beply.     Answer  in  FUGUE. 

BSponse.     Fr.    REPLY. 

Bepos.     Fr.    PAUSE. 

Beprise.  Fr.  Burden  of  song; 
repeat;  reappearance  of  a  first  theme 
in  works  in  the  Sonata  FORM. 

Bequiem  eternam  dona  eis.  L. 
"  Grant  them  eternal  rest."  The 
Missa  pro  defunctis  or  Mass  for  the 
Dead  is  called  requiem  because  of  the 
first  word  of  the  phrase  quoted,  the 
beginning  of  the  Introitus.  A 
solemn  Mass  of  Requiem  is  sung  an- 
nually in  Catholic  churches  in  com- 
memoration of  the  dead  on  All  Souls' 


Day,  and  may  also  be  sung  at  the 
funeral  and  on  the  anniversary  of  the 
death  of  individuals.  The  other  chief 
divisions  besides  the  Introitus  are  the 
Kyrie;  the  Gradual,  Requiem  aeter- 
nam  and  Tract,  Absolve  Domine;  the 
Sequence,  Dies  Irae;  the  Offertorium, 
Domine  Jesu  Christi;  the  Sanctus; 
the  Benedictus;  the  Agnus  Dei,  the 
Communio,  Lux  aeterna,  and  some- 
times the  Responsorium,  Libera  me; 
and  the  Lectio,  Taedet  animam  meam. 
There  are  Gregorian  melodies  for  all 
these  divisions  of  the  Requiem  save 
the  last,  and  it  is  hardly  necessary  to 
add  that  the  genius  of  church  musi- 
cians of  all  ages  has  been  lavished  on 
this  solemn  ritual.  The  most  notable 
settings  are  those  of  Palestrina,  Vit- 
toria,  Mozart,  Cherubini,  Berlioz, 
Brahms  and  Verdi,  the  last  three 
composers  having  adopted  their  work 
to  the  concert  room  rather  than  the 
church. 

Besearch.  Improvised  prelude  to 
piano  or  organ  number. 

Besin  or  Bosin.  Refined  gum  or 
COLOPHONY  used  to  roughen  the 
bows  employed  in  playing  string 
instruments. 

Besolution.  Progression  from  a 
discordant  to  a  concordant  combina- 
tion of  tones,  or  a  progression  giving 
a  satisfactory  sense  of  repose,  usually 
effected  by  taking  the  discordant  tone 
up  or  down  one  vhole  or  half  tone. 

Besonance.  Term  in  ACOUS- 
TICS for  sympathetic  vibrations. 

Besonance  Box  or  Body.  The 
hollow  body  of  the  violin  or  other 
string  instrument  which  serves,  by 
sympathetic  vibration,  to  reinforce 
the  tones  produced  by  the  vibration 
of  the  strings. 

Besonanzboden.  Ger.  RESO- 
NANCE BODY. 

Bespiro.  L.  "Breath";  16th 
note  rest. 

Besponse.  In  the  Anglican  Ser- 
vice, any  sentence  sung  by  the  choir, 
whether  an  "  Amen "  or  the  reply  to 
a  Versicle. 

Besponsoria.  L.  Antiphons  sung 
in  the  Roman  Catholic  Litur^, 
chants  for  which  are  contained  in 
several  Office  Books. 


BESTS 


537 


BEVEIL 


Bests.  Signs  employed  in  NOTA- 
TION corresponding  to  the  various 
notes,  and  indicating  silence. 

Besultant  Tones  are  formed  by 
the  vibration  of  two  independent 
tones  sounded  together,  and  are  clas- 
sified as  Differential,  meaning  a  tone 
whose  vibrations  equal  the  difference 
between  the  two  tones  producing  it; 
and  Summational,  or  equalling  the 
sum  of  the  vibrations  producing  it. 

Beszke,  de  (Jan  Meczlslaw)  sang 
ten.  with  distinguished  success  in  the 
world's  chief  music  centres,  his  re- 
markable talents  as  an  actor,  in  com- 
bination with  vocal  gifts  and  a  fine 
presence,  making  him  the  foremost 
interpreter  of  such  Wagnerian  rdles 
as  Tristan,  Walther,  and  Siegfried, 
although  his  repertoire  included  lead- 
ing rSles  in  every  school  of  composi- 
tion; retired  in  1904  and  founded  a 
singing  school  in  Paris,  where,  in  the 
fall  of  1908,  he  was  planning  a  new 
academy  vidth  opera  houses  in  Paris 
and  New  York,  the  whole  to  be 
financed  by  Mabelle  Gilman,  an 
Am.erican  comic  opera  singer,  who 
had  become  the  wife  of  Corey,  presi- 
dent of  the  Steel  Trust.  Eldest  son 
of  a  railway  official,  he  was  taught 
music  by  his  mother,  and  sang  solos 
in  the  Warsaw  Cathedral  at  12,  later 
becoming  a  pupil  of  Ciaffei,  Cotogni, 
and  Sbriglia,  and  in  January,  1874, 
made  his  debut  in  Venice  as  "Al- 
fonso "  in  "  Favorita,"  and  his  first 
London  appearance  at  Drury  Lane 
the  same  year.  For  two  seasons  he 
continued  to  sing  bar.  rSles.  Until 
his  appearance  at  the  Theatre  des 
Italiens,  Paris,  1876,  he  was  billed  as 
"Jean  de  Reschi."  His  voice  had 
been  early  recognized  as  robust  ten. 
rather  than  bar.,  and  in  1879  he  made 
his  first  appearance  as  ten.  in  Mas- 
senet's ":^rodiade"  in  Madrid  with 
such  success  that  the  composer  en- 
gaged him  to  create  the  name  part  of 
"Le  Cid"  at  the  Paris  Op6ra,  1885. 
Thereafter  he  was  a  favourite  ten. 
throughout  the  world,  especially  in 
New  York,  London,  and  Paris.  Other 
notable  rSles  were  "Radames"  in 
"Aida,"  "Kaoul"  in  "  Les  Hugue- 
nots," and  the  name  parts  of  "Faust," 


"  Lohengrin,"  and  "  Romeo."  B.  Jan. 
14,  1850;  add.  Paris.  Eduard  sang 
bar.  bass  rSles,  including  the  King  in 
"  Alda  " ;  debut,  1876,  at  the  Theatre 
des  Italiens,  Paris;  "St.  Bris,"  "Al- 
maviva,"  "Ramfls,"  the  King  in 
"  Lohengrin,"  "  Marcel  "  in  "  Hugue- 
nots," "  Hans  Sachs,"  "  King  Mark," 
"Hunding,"  "  Hagen,"  and  "Basilio." 
Pupil  at  first  of  his  brother  JAN,  with 
whom  he  was  generally  engaged,  fidu- 
ard  ranked  with  the  foremost  artists 
of  the  day,  and  he  continued  to  sing 
at  Covent  Garden,  London,  and  the 
Metropolitan,  New  York,  until  several 
seasons  after  his  brother's  retirement. 
In  1907-8  he  taught  music  in  London. 
B.  Dec.  23,  1855,  Warsaw;  add. 
London.  Josephine  created  the  r61e 
of  "Sita"  in  "Le  Roi  de  Lahore"; 
sang  in  opera  with  success  from  her 
debut  at  the  Venice  Academy,  1875, 
as  "Ophelia,"  but  retired  on  marry- 
ing L.  de  Kronenburg  of  Warsaw; 
pupil  of  the  St.  Petersburg  Conser- 
vatory. B.  Warsaw;  sister  of  JAN 
and  ilDUARD;  d.  Feb.  22,  1891, 
Warsaw. 

Betard.  To  decrease  in  velocity; 
to  resolve  discords  upward  after  sus- 
pension. 

Betrogrado.   It.   RETROGRADUS. 

Betrogradus.  L.  To  move  back- 
ward; Contrapunotus,  COUNTER- 
POINT per  recte  et  retro. 

Betto.     L.    Direct. 

Beuss  (Eduard)  taught  piano  at 
Carlsruhe,  pupil  of  Kriiger  and  Liszt. 
B.  Sept.  16,  1851,  New  York;  add. 
Carlsnihe.  Louise  Belce  sang  Wag- 
nerian sop*,  rdles  at  Carlsruhe,  debut 
1884,  at  Barcelona,  Metropolitan 
Opera  House,  New  York,  1901-2; 
pupil  of  Gansbacher.  B.  Vienna,  M. 
:^DUARD;    add.   Carlsruhe. 

Beuss-Kostritz,  Prince  of 
(Henry  XXIV)  composed  two  sym- 
phonies, a  mass,  songs;  pupil  of 
Herzogenberg  and  Rust,  Leipsic.  B. 
Dec.  8,  1856,  Trebsohen,  Brandenburg. 

Beuter  (Florizel)  toured  Europe 
and  America  as  "  phenomenal  "  boy- 
violinist;  pupil  of  Max  Bendix,  Chi- 
cago and  of  Marteau.  B.  1890;  add. 
Chicago. 

B«veil,  Beveille,  Bevelly.    Mili- 


BEVEILLi: 


538 


RHYTHMTTS 


.  tary  signal  by  which  soldiers  are 
awakened  at  dawn. 

Reveille.     Fr.     REVEIL. 

Reverse  SCotion.  Progression  by 
inverted  intervals.  , 

Reyer  (Ernest  Louis  Etienne) 
composed  the  opera  "  SIGURD,"  fore- 
stalling Wagner  in  the  use  of.  certain 
material  for  his  RING  DES  NIBE- 
LUNGEN;  became  librarian  of  the 
Paris  Opgra;  succeeded  Berlioz  as 
music  critic  of  the  "  Journal  des  De- 
bats  " ;  became  OflBcer  of  the  Legion 
of  Honor,  and  in  1876  member  of  the 
Institut,  vice  David.  Yoimg  Reyer, 
or  Rey,  studied  music  for  a  time  in 
the  free  school  established  in  Mar- 
seilles by  Barsotti,  but  at  16  accepted 
a  government  appointment  in  Algeria, 
where  he  continued  his  studies,  and 
composed  a  mass.  The  Revolution  of 
1848  caused  him  to  return  to  France, 
and  he  then  studied  composition  with 
his  aunt,  Mme.  Ferrenc.  His  first 
important  work  was  the  symphonic 
ode  with  choruses  "  Le  S6lam,"  to 
book  by  Theophile  Gautier,  Theatres 
des  Italiens,  1850.  Next  came 
"Maltre  Wolfram,"  one-act  opera  to 
book  by  Mery,  Paris  Theatre  Lyrique, 
May  20,  1854;  "  Sakountala,"  a  bal- 
let to  plot  by  Gautier,  Jtfly  20, 1858; 
and  the  three-act  opera  "  La  Statue," 
Theatre  Lyrique,  April  11,  1861.  The 
two-act  opera  "  Erostrate,"  performed 
at  Baden,  1862,  failed  at  the  Paris 
Op6ra,  and  in  consequence  "  Sigurd  " 
remained  unperformed  18  years,  or 
until  1884, when  it  was  brought  out  in 
Brussels,  later  in  Paris,  New  Orleans 
and  Philadelphia.  The  opera  "  Sa- 
lammb6 "  was  produced  in  1890. 
Sacred  music,  the  cantata  "  Victoire," 
Paris  Opera,  June  27,  1859,  "Re- 
cueil  de  10  Melodies "  for  voice  and 
piano,  ajid  a  number  of  songs  com- 
plete the  list  of  his  works.  In  1908 
he  was  Inspector  General  of  the  Paris 
Conservatoire.  B.  Dec.  1,  1823,  Mar- 
seilles;   add.  Paris. 

Reynolds  (John)  composed  the 
anthem  "My  God,  my  God,  look  upon 
me";  sang  Eng.  Chapel  Royal,  1765- 
70. 

Reznicek,  Freiherr  von  (Emil 
ITicolaus)  composed  the  operas  "Die 


Jungfrau  von  Orleans,"  1887;  "Sa- 
tanella,"  1888;  "Emerich  Fortunat," 
1889,  the  comic  opera  "  Donna 
Diana'*  to  his  own  book,  1894,  all 
produced  at  the  Prague  Opera;  the 
folk-opera  "Till  Eulenspiegel,"  Ber- 
lin, 1903,  symphonic  suite,  requiem; 
conducted  the  Mannheim  court 
theatre;  pupil  of  Leipsic  Conserva- 
tory. B.  May  4,  1861,  Vienna;  add. 
Prague. 

Rf.  Abbreviation  for  RINFOR- 
ZANDO. 

Rhapsodes.  Gr.  Wandering  min- 
strels of  ancient  Greece. 

Rhapsodie.     Ger.    RHAPSODY. 

Rhapsodie.     Fr.    RHAPSODY. 

Rhapsody.  Passionate  and  bril- 
liant  composition  of  irregular  form. 

Rheinberger  (Joseph.  Gabriel) 
composed  18  organ  sonatas,  "  Floren- 
tine "  and  "  Wallenstein "  sympho- 
nies, the  overtures  "  Demetrius," 
"  Taming  of  the  Shrew,"  "  Triumph," 
"  Symphonique "  sonata  for  piano. 
Op.  47,  "  Romantic "  sonata  for 
piano.  Op.  184,  much  chamber  music, 
the  operas  "Die  sieben  Raben," 
Munich,  1869,  "Thurmer's  DScter- 
lein,"  two  Stabat  Maters,  four  can- 
tatas. Requiem  for  soldiers  of  the 
Franco-Prussian  war  and  a  notable 
mass  "  Christophorus,"  for  double 
choir  with  orchestra,  dedicated  to 
Pope  Leo  XIII.  When  Rheinberger 
began  to  study  piano  he  was  too  little 
for  his  legs  to  reach  the  pedals.  At 
12  he  entered  the  Munich  Conserva- 
tory, where  he  remained  seven  years, 
then  becoming  teacher  in  the  same  in- 
stitution, and  organist  at  the  court 
church  of  St.  Michael.  In  due  time 
he  was  made  Royal  Professor  and 
Chapelmaster.  B.  Mar.  17,  1839,  Val- 
duz,  Lichtenstein ;  m.  the  poet  Pran- 
ziska  von  Hoflfnas;  d.  Nov.  25,  1902, 
Munich. 

Rheingold.  The  "  fore-evening " 
of  Richard  Wagner's  Tetralogy  the 
"  RING  DES  NIBELUNGEN." 

Rhythmlque.      Fr.     RHYTHMIC. 

Rhythmisoh.     Ger.    RHYTHMIC. 

Rhythmus  or  Rhythm  is  the 
METRE  of  modem  music,  almost  in- 
finite in  variety,  but  usually  redu- 
cible to  NOTATION  in  three,  four,  or 


RIBATTITtrRA 


539 


mCHTEB 


nine  beats.  The  units  of  Rhythm  are 
Measures,  as  the  units  of  the  Measure 
are  long  and  short  notes  grouped  ac- 
cording to  Accent. 

Bibattitura  or  Ribittuta.  L. 
"Restriking";  slow  beginning  of  a 
trill;    passing  note. 

Bibbechino.  /*.     Small  REBECK. 

Bibs.  Sides  uniting  the  back  and 
belly  of  an  instnunent  of  the  violin 
family. 

Bicci  (Liiigi)  composed  the  operas 
"II  Colombo,"  Parma,  1829;  "L'Or- 
fanella  di  Ginevra,"  Naples,  1829; 
two  "  Figaro "  operas  which  failed, 
and  20  operas  in  all  before  he  was 
30,  and  many  more  in  after  life,  the 
only  one  now  known  outside  of  Italy 
being  "CRISPING  E  COMARE."  In 
1844  he  married  Lidia  Stolz,  who 
sang  in  1867  at  the  Paris  Theatre  des 
Italiens,  but  died  soon  after.  Ricci's 
last  work  was  "II  Diavolo  il  quattro," 
produced  at  Trieste,  18S9.  Shortly 
after  this  he  became  insane>  B.  June 
8,  1805,  Naples;  d.  Dec.  31,  1859, 
Prague.  Federico  collaborated  with 
his  brother  LUIGI  in  several  works 
including  "  Crispino,"  and  was  his 
fellow  student  at  the  Naples  Con- 
servatory. He  composed  wholly 
or  in  part  19  operas,  of  which  the 
most  successful  was  "  II  Marito  e 
I'Amante,"  Vienna,  1852,  while  the 
barcarole  "  Sulla  poppa,  etc."  from 
his  "  Prigione  d'Edimburgo  "  ranked 
with  the  most  popular  Italian  melo- 
•  dies  for  a  generation.  B.  Oct.  22, 
1809,  Naples ;  d.  Dec.  10,  1877,  Coneg- 
liano. 

Bice  (Fenelon.  B.)  directed  the 
Oberlin,  O.,  Conservatory;  played 
organ;  Dr.  Mus.  Hillsdale  College; 
pupil  in  Boston  and  Leipsic.  B.  Jan. 
2,  1841,  Green,  O.;  d.  Oct.  26,  1901, 
Oberlin. 

Bicercari.  /*.  Exercises;  flour- 
ishes. 

Bicercata.  It.  Toeatta  or  Fan- 
tasia; Fuga,  highly  elaborated 
FUGUE  in  which  &.e  composer  ex- 
hausts his  command  of  Counterpoint. 

Bich  (John)  built  and  managed 
the  first  Covent  Garden  Theatre,  Lon- 
don, from  Dec.  7,  1732,  having  previ- 
ously opened  and  managed  the  Lin- 


coln's Inn  Fields  Theatre,  which  was 
built  by  his  father.  B.  1692,  London; 
d.  Nov.  26,  1761,  London. 

Bichard  CcBur  de  Lion.  A.  E. 
M.  Grety's  three-act  opgra  eomique, 
containing  the  air  "O  RICHARD,  O 
HON  ROI,"  to  book  by  Sedaine,  was 
first  performed  Oct.  21,  1784,  at  the 
Paris  Opera  Comique.  Julius  Bene- 
dict's cantata  of  this  title  was  first 
performed,  1863. 

Bichards  (Brinley)  composed  the 
song  "  God  Bless  the  Prince  of 
Wales,"  etc.,  specialist  in  Welsh 
music;  played  organ  and  piano.  B. 
1819,  Caermarthen;  d.  May  1,  1885, 
London. 

Bicbardson  (Joseph)  composed 
flute  fantasias  and  variations;  played 
flute.  B.  1814;  d.  Mar.  22,  1862, 
London. 

Bichardson  (Vaughn)  composed 
anthems,  services;  sang  in  boyhood, 
Eng.  Chapel  Royal;  became  organist 
Winchester  Cathedral.     D.  1729. 

Bichault  (Simon)  published  music 
in  Paris  from  1805.  B.  May  10, 1780, 
Chartres;  d.  Feb.  20,  1866.  Guil- 
laume  Simon  continued  the  business 
founded  by  his  father  CHARLES 
SIMON.  B.  Nov.  2,  1806,  Paris;  d. 
Feb.  7,  1877.  Leon  enlarged  the  pub- 
lishing business  inherited  from  his 
father  GUILLAUME  SIMON.  B. 
Aug.  6,  1839,  Paris;    d.  1895,  Paris. 

Blchter  (Ernest  Eriedrich  Edu- 
ard)  composed  an  oratorio,  masses; 
wrote  "  Lehrbuch  der  Harmonic," 
"Lehrbuch  der  Fuge";  taught  Leip- 
sic Conservatory  from  its  foundation; 
became  cantor  Thomaskirche,  1868; 
pupil  of  Weinlig.  B.  Oct.  24,  1808, 
Gross  Chonau;  d.  April  9,  1879, 
Leipsic.  Alfred  wrote  on  theory  and 
"  Das  Klavierspiel  fiir  Musik  studie- 
rend,"  1898;  pupil  of  his  father,  E. 
F.  R. ;  taught  in  Leipsic  Conserva- 
tory and  in  London.  B.  April  1, 1846, 
Leipsic;    add.  Leipsic. 

Bichter  (Franz  Xavier)  wrote  on 
music;  conducted;  composed.  B. 
1709,  Holeschau,  Moravia;    d.  1789. 

Bichter  (Hans)  became  the  fore- 
most of  Wagnerian  conductors  and 
first  of  the  so-called  "prima  donna 
conductors,"  having  presided  over  the 


RICHTER  540  RIENZI 

Bayreuth  Festivals  since  their  incep-       Kiddle      Canon.       Enigmatical 

tion,  the   London   Philharmonic   con-  CANON. 

certs,   1879,  then  founded  the  highly       Bidevolmente.     It.     Laughingly, 
successful    London   Richter   concerts;        Bidotto.      /*.     Reduced   from   full 

conducted    the    Lower    Rhine    Festi-  score;     REDOUTE. 
vals,    1885,   also    conducting   at    the       Biedel    (Furchtegott    Ernst   Au- 

Vienna   Imperial  Opera,   Gesellschaft  gust)  composed  cantatas;    conducted, 

der  Musikfruende,  the  Pest  National  became    cantor    of    Plauen,    Saxony, 

Opera,  and  the  Munich  Royal  Opera.  1890.     B.   May   22,    1855,   Chemnitz; 

Besides   many  orders,   including  that  add.  Plauen. 

of     Franz     Joseph,     he     was     made       Riedel      (Karl)     composed     part- 

Dr.     Mus.     by     Oxford,     1885,     and  songs;    edited  ancient  music;  founded 

in     1898     received    the    freedom     of  the  Leipsic  Riedel  Verein,  which  sang 

the    City    of    Vienna,      Son    of    the  ancient   music,    1855;     helped   found 

chapelmaster      of     Raab      Cathedral  the     Beethoven     Stiftung;       became 

and    of   Mme.    Richter   von    Innffeld,  president  of  the  Wagner  Verein ;   pupil 

a  noted  singer  and  teacher,  he  was  Lieipsic     Conservatory.       B.     Oct.    6, 

entered    at  the    Vienna  Konvict    in  1827,  Kronenberg;    d.  June  3,   1888, 

1853,    sang   four   years   in   the    court  Leipsic. 

chapel,   studied  horn  with  Kleineeke       Eiehl,   von   CWilhelm  Eeinrich) 

and  theory  with  Sechter  at  the  Vienna  composed;    wrote  on  music;    directed. 

Conservatory,    then    played    in    the  B.   1823,  Biebrich;    d.   1897,  Munich. 
Karnthnerthor   orchestra   until    1866,       Biem   (Friedrich  Wilhelm)   com- 

when  he  joined  Wagner  at   Lucerne  posed     piano     sonatas     and    studies, 

and     copied     the      "  Meistersinger  "  chamber  music;  played  organ  Bremen 

score.      Next    he    engaged   with    von  Cathedral;      directed     Singakademie. 

Bttlow     as     assistant     conductor     at  B.  Feb.  17,  1779,  Thuringia;    d.  April 

Munich.      In    1870   he   conducted   the  20,  1837,  Bremen. 
"  Lohengrin  "    performance    at    Brus-       Biemann  (Hugo)  edited  a  "  Musio- 

sels,  then  rejoined  Wagner  and  copied  Lexicon  " ;     wrote   essays   and   works 

the  score  of  the  Ring,   1871-75,  and  on  theory,  nom  de  plume  "  Hugibert 

became  conductor  at  Pest.     B.  April  Ries";   became  lecturer  Leipsic  Uni- 

4,  1843,  Raab,  Hungary;    add.  Vienna,  versity,   1895;     in  earlier  life  taught 

Bichter        (Johann        Christoph  and  lectured  at   Bielefeld,  Bromberg, 

Christian)  played  organ;    was  father  and    the    Hamburg    and    Wiesbaden  ' 

of  Jean  Paul.    B.  1727,  Neustadt;    d.  Conservatories;     pupil     of    Franken- 

1779,  Schwarzenbach.  berg,  Barthel  and  Ratzenberger,  and 

Bicordi  &  Co.  published  music  in  Leipsic      Conservatory ;       Dr.      Phil.  ■ 

Milan,   including  the  works  of  most  Gottingen.      B.    July    18,    1849,   near 

of    the    "  New    Italian "    composers.  Sonderhausen ;    add.  Leipsic. 
The  house  was  founded  by  Giovanni,        Biemenschneider     (Georg)     com- 

a   musician   of   repute    as   conductor  posed   the   symphonic   "  Die   Eisjung- 

and  violinist,  and  Verdi's   publisher,  f rau,"    the    opera    "Mondeszauber " ; 

B.  1785,  Milan;    d.  1853,  Milan.    Tito  conducted    at     Liibeck,    Dantzic     and 

continued  and  enlarged  the  business  Breslau.      B.    April    1,    1848,    Stral- 

inherited     from     his     father,     GIO-  sund;    add.   Breslau. 
VANNI,     isfeuing     a     catalogue     of       Bienzi.     Richard  Wagner's  five-act 

nearly  750   pages.     B.   1811,   Milan;  tragic  opera  to  his  own  book,  based  on 

d:  May  7,   1888.     Tito,   his   son   and  Bulwer-Lytton's  novel  "The  Last  of 

successor  then   assumed   direction   of  the    Tribunes,"    was    first    performed 

the  business.    B.  Dec.  19,  1840;    add.  Oct.   20,   1842,   at  Dresden.     The  ac- 

Milan.     The  "  Gazetta  Musieale "  es-  tion     is     laid     in    Rome     about     the 

tablished  by  the  founder  of  the  house,  middle  of  the  14th  century.     In  the 

with  Mazzucati  as  editor,   continued  first  act,  Orsini,  a  Roman  noble,  at- 

to   be   published   under   the   manage-  tempted  to  abduct  Irene,  sister  of  the 

ment  of  Rioordi  &  Co.  in  1908.  papal  notary,  Rienzi.    Orslni's  enemy 


KIENZI 


641 


RIES 


Colonna,  leader  of  a  rival  faction  of 
the  nobility,  prevents  this,  and  in  the 
midst  of  quarrel,  Adriano,  Colonna's 
son,  who  is  in  love  with  Irene,  comes 
to  her  defense.  The  tumult  increases. 
Nobles  and  plebeians  are  attracted  to 
the  scene,  and  finally  Rienzi  enters. 
Acting  on  the  suggestion  of  Cardinal 
Kaimondo,  Rienzi  inflames  the  pas- 
sions of  the  common  people,  who  rise 
against  the  patricians.  Adriano  is  ' 
bound  to  the  nobility  by  blood,  to 
Rienzi  by  love,  and  as  Rienzi,  clad 
in  armour,  appears  to  lead  the  people, 
Adriano  joins  him.  The  patricians 
are  defeated.  From  the  environs  of 
the  Cathedral  of  St.  John  Lateran, 
the  next  act  shifts  to  the  capitol, 
where  the  nobles  make  submission  to 
Rienzi,  although,  as  Adriano  informs 
him,  they  are  already  plotting  his 
death.  Dances  and  gladiatorial 
games  are  held,  but  while  the  festivi- 
ties are  at  their  height,  Orsini  strikes 
at  Rienzi  with  his  dagger,  only  to 
blunt  his  weapon  against  a  shirt  of 
mail.  The  nobles  are  seized,  con- 
demned to  death,  but  at  the  interces- 
sion of  Adriano  and  of  Irene,  Rienzi 
spares  them  on  condition  that  they 
will  swear  fidelity.  The  oath  is  no 
sooner  taken  than  broken.  Again  the 
people  demand  the  extermination  of 
the  patricians,  and,  led  by  Rienzi, 
put  them  to  the  sword.  Adriano 
threatens  to  revenge  himself  for  the 
^eath  of  his  father  and  kindred,  and 
the  act  ends  with  the  installation  of 
Rienzi  as  supreme  ruler.  The  fourth 
act  opens  with  the  approach  of  Rienzi 
to  church  at  the  head  of  a  gay  pro- 
cession. He  has  lost  the  confidence 
of  the  people  because  of  a  report  that 
he  has  leagued  with  the  emperor  to 
restore  power  of  the  Pope.  Adriano 
prepares  to  assassinate  him,  but  as 
he  hears  the  churchmen  chanting 
Rienzi's  excommunication,  his  pur- 
pose changes,  he  goes  to  Irene,  and 
urges  her  to  leave  Rome  with  him, 
telling  her  Rienzi's  life  is  no  longer 
safe.  Irene's  reply  is  to  seek  her 
brother  at  the  capitol,  that  she  may 
share  his  danger.  She  finds  him  in 
prayer.  When  she  repeats  Adriano's 
warning,  Rienzi  advises  her  to  save 


herself,  knowing  himself  to  be  doomed. 
A  mob  approaches.  Rienzi  tries  to 
address  them,  but  they  will  not  listen. 
The  capitol  is  fired,  and  .the  mob  stone 
Irene  and  Rienzi  through  the  win- 
dows. Adriano,  seeing  them  about  to 
perish  in  the  flames,  throws  away  his 
sword  and  rushes  into  the  building  to 
die  with  them.  The  original  cast  was : 
Rienzi,  Tichatschek,  ten.  ;  Irene, 
Wuest,  sop. ;  Colonna,  Dettmer,  bass ; 
Adriano,  Schroder-Devrient,  sop.;  Or- 
sini, Wachter,  bass.  The  work  is 
along  conventional  lines,  so  much  so 
that  in  later  life  Wagner  was  dis- 
posed to  regard  it  as  unworthy  of 
him.  It  contains,  in  fact,  as  many 
concerted  numbers  as  the  average 
Italian  work  of  the  period.  The  over- 
ture, which  is  still  heard  in  concert 
rooms,  is  built  up  of  the  leading  mu- 
sical numbers  of  the  opera. 

Kies  (Hugibert)  was  a  nom  de 
plume  of  HUGO  RIEMANN. 

Bies  (Johann)  conducted;  was 
court  trumpeter  at  Bonn,  and  pro- 
genitor of  notable  family  of  musicians. 
B.  1723,  Benzheim-on-Rhine;  d.  1787. 
Anna  Maria  sang  sop.  court  of  Bonn 
until  1794,  when  the  French  took  pos- 
session of  the  city.  B.  Bonn;  daugh- 
ter of  JOHANN;  m.  the  V'iolinist, 
Ferdinand  Drewer.  Eranz  Anton 
taught  Beethoven  while  violinist  in 
the  Bonn  orchestra;  aided  Wegeler  in 
"  Notices  of  Beethoven  " ;  Chevalier 
of  the  Red  Eagle  and  Dr.  Mus.  B. 
Nov.  10,  1755,  Bonn;  son  of  JOHANN; 
d.  Nov.  1,  1846.  Ferdinand  wrote 
biographical  notes  of  Beethoven  pub- 
lished with  those  of  Wegeler;  com- 
posed eight  operas  including  "  Die 
Rauberbraut,"  Frankfort,  1829;  "The 
Sorcerer,"  London,  1831,  the  orato- 
rios, "  Der  Sieg  des  Glaubens,"  Berlin, 
1835,  and  "  Die  Konige  Israels,"  Aix- 
la-Chapelle,  1837;  six  symphonies, 
nine  piano  concertos;  played  piano 
with  distinction;  became  one  of  the 
foremost  London  teachers;  pupil  of 
Beethoven,  piano ;  Albrechtberger, 
theory.  B.  Nov.  28,  1784,  Bonn;  son  of 
FRANZ;  d.  Jan.  13,  1838,  Frankfort. 
Hubert  composed  a  violin  school; 
directed  Berlin  Philharmonic;  com- 
posed   violin    concertos,    duets.      B, 


BIETEB 


542 


KIGOLETTO 


1802,  Bonn;  brother  of  FERDINAND; 
d.  Sept.  14,  1886.  Louis  played 
violin  and  taught  in  London.  B.  1830, 
Berlin;  son  of  HUBERT.  Adolph 
composed  songs  and  piano  music; 
taught  piano  in  London;  pupil  of 
Kullah  and  Boehmer.  B.  1837,  Ber- 
lin; son  of  HUBERT.  Franz  founded 
the  publishing  houses  of  Ries  &  Erler, 
Berlin;  composed  songs  and  chamber 
music,  suites  for  violin;  pupil  of  his 
father,  HUBERT,  later  prize  pupil  of 
Massart  at  l^e  Paris  Conservatoire, 
1868,  and  a  virtuoso  of  ability.  B. 
April   7,    1846,   Berlin;     add.   Berlin. 

Bieter-Biedermanii  (Jacob  Mel- 
chior)  founded  a  publishing  house  and 
musical  circulating  library  at  Winter- 
thur,  1849,  and  a  branch  house  in 
Leipsie,  1862.  B.  May  14,  1811;  d. 
Jan.  25,  1876. 

Bifacimento.  It.  Restoration  or 
reconstruction. 

Bifiorlmenti.  It.  Extemporized 
ornaments. 

Biga  (Frangois)  composed  and 
conducted  male  choruses.  B.  1831, 
LiSge;  d.  1892,  Schaerbeek,  near  Brus- 
sels. 

Bigabellum.     L.    REGALS. 

Bigadon,  Bigaudon,  Bigadoon. 
Lively  Provencal  dance  resembling  the 
jig,  performed  by  a  man  and  a  woman. 

Bigby  (George  Vernon)  sang  ten. 
in  English  opera  and  concerts  and  in 
Berlin  and  Copenhagen;  in  boyhbod, 
chorister  St.  Chad's  Cathedral,  Bir- 
mingham. B.  Jan.  21,  1840;  add. 
London. 

Bigini  (Vincenzo)  composed  an 
opera  on  the  theme  of  "  Don  Gio- 
vanni," performed  in  Vienna  ten 
years  prior  to  that  of  Mozart's,  and 
in  all  20  operas,  a  Requiem,  Te  Deum, 
Missa  Solennis,  and  songs;  sang  ten.; 
conducted  Berlin  Court  opera.  B. 
Bologna,  Jan.  22,  1756;  d.  Aug.  19, 
1812,  Bologna.  Henriette  Kneisel 
sang  sop.  in  Berlin  court  opera.  B. 
1767,  Stettin;  m.  VINCENZO,  1794; 
d.  Jan.  25,  1801,  Berlin. 

Bigoletto.  Giuseppe  Verdi's  three- 
act  opera,  to  book  by  Piave,  based  on 
Hugo's  "  Le  Roi  s'amuse "  was  first 
performed  Mar.  11,  1851,  at  La  Fe- 
nice,  Venice,     The  plot  of  the  drama 


is  faithfully  followed,  but  for  politi- 
cal reasons,  "  Francis  I  "  in  the  play 
becomes  "  Duke  of  Mantua "  in  the 
opera,  and  "  Triboulet,  the  Jester," 
"  Rigoletto."  The  opera  opens  with  a 
fgte  in  the  Duke's  palace,  at  which 
the  Duke  relates  his  discovery  of  a. 
charming  maiden  he  traced  to  her 
home,  biit  has  not  yet  obtained  ac- 
cess to,  aa  she  is  visited  nightly  by 
an  unknown  man.  The  Duke  leads  off 
the  Countess  Ceprano,  to  the  chagrin 
of  her  jealous  husband,  who  is  mocked 
by  Rigoletto.  Ceprano  and  other  cour- 
tiers who  have  felt  the  bitterness  of 
the  hunchback  jester's  tongue,  plot  to 
destroy  him,  when  Count  Monterone, 
whose  family  has  been  dishonoured  by 
the  Duke,  comes  in  to  denounce  his 
ruler.  Rigoletto  mocks  him  also,  but 
quails  before  the  awful  curse  Monte- 
rone hurls  at  him.  The  scene  shifts 
to  the  street  leading  to  Rigoletto's 
home,  where  he  has  brought  up  his 
daughter  Gilda  in  complete  ignorance 
of  the  vileness  of  the  court.  As  he  is 
about  to  enter  his  door,  the  bravo 
Sparafucile  profilers  his  services,  in 
case  Rigoletto  hasi  any  enemies  to  be 
killed.  The  hunchback  thanks  the  cut- 
throat, whose  weapon  he  is  soon  to 
hire,  then  entering  his  home,  em- 
braces his  daughter.  Gilda  is  the 
young  girl  who  has  struck  the  fancy 
of  the  Duke.  He  has  followed  Rigo- 
letto in  disguise,  manages  to  intro- 
duce himself  into  the  house  and  woo 
Gilda  as  Gaultier  MaldS,  a  poor  stu- 
dent, and  wins  her  love.  Meantime 
Rigoletto  has  joined  a  party  of  cour- 
tiers who  tell  him  they  are  about  to 
abduct  Countess  Ceprano  on  behalf 
of  the  Duke,  an  enterprise  which  Ri- 
goletto cordially  approves.  They  lead 
him  back  to  his  own  home,  meaning 
in  fact,  to  abduct  Gilda,  whom  they 
imagine  to  be  Rigoletto's  mistress. 
Having  secured  their  victim,  the 
courtiers  steal  away,  leaving  Rigoletto 
alone.  He  tears  oil  the  mask  which 
has  blindfolded  him,  and  swoons  on 
realizing  that  he  has  aided  in  the  dese- 
cration of  his  own  home.  In  the  sec- 
ond act  Rigoletto  has  returned  to  the 
palace,  vainly  hoping  to  rescue  his 
daughter  from  the  Duke.     The  cour- 


BIGOLETTO 


543 


BIMSKY 


tiers  gibe  at  him  until  he  is  almost 
mad,  and  he  prepares  to  force  himself 
into  the  Duke's  presence  and  revenge 
himself,  when  Gilda  appears.  Though 
deceived,  she  still  loves  the  Duke,  and 
intercedes  for  him.  Monterone  is 
escorted  through  the  anteroom  in 
chains,  bewailing  the  futility  of  his 
curses  against  .the  Duke,  but  Rigo- 
letto  vows  to  be  the  means  of  carrying 
them  into  effect.  The  hunchback  has 
now  plotted  with  Sparafucile  to  mur- 
der the  Duke,  and  the  brave's  sister 
Maddalena  has  been  employed  to  de- 
qoy  him  to  an  inn.  There  the  third 
act  opens.  Gilda,  brought  to  witness 
her  lover's  perfidy  before  he  is  slain, 
still  pleads  for  the  Duke's  lifel  The 
Duke  keeps  his  appointment,  and  so 
pleases  Maddalena  that  she  begs  Spa- 
rafucile to  spare  him.  Sparafucile 
finally  agrees,  on  condition  that  an- 
other victim  present  himself  before 
midnight.  The  conversation  is  over- 
heard by  Gilda,  who  determines  to 
save  her  false  lover,  even  at  the  cost  of 
her  own  life.  She  is  in  boy's  clothing, 
prepared  for  flight  by  Bigoletto. 
Boldly  knocking  at  the  door,  she 
enters,  is  stabbed  by  Sparafucile,  who 
thrusts  her  body  into  a  sack,  and 
when  Rigoletto  comes  to  the  door  at 
midnight  for  his  victim,  Sparafucile 
gives  him  the  sack  with  its  burden. 
Rigoletto  drags  the  sack  toward  the 
river.  Suddenly  the  Duke's  voice  is 
heard  singing  in  the  distance,  and 
filled  with  amazement,  Rigoletto 
opens  the  sack.  Gilda  revives  enough 
to  profess  her  love  for  the  Duke,  and 
to  pray  for  her  father,  then  dies,  and 
Rigoletto  falls  senseless  over  her  body. 
The  original  cast  included :  The  Duke, 
Mirate,  ten.;  Rigoletto,  Varesi,  bar.; 
Monterone,  Damini,  bar.;  MaruUo, 
Kfinerth,  bar.;  Sparafucile,  Ponz, 
Saini,  mez.-sop. ;  Count  Ceprano, 
Bellini,  bass;  Court  Usher,  Rizzi, 
ten. ;  Gilda,  T.  Brambilla,  sop. ;  Mad- 
dalena, Casaloni,  con.;  the  Nurse, 
Saini,  mez.-8op.;  Countess  Ceprano, 
Marselli,  mez.-sop.;  Page,  M.  Lovati, 
mez.-  sop.  The  principal  musical  num- 
bers are  Act  I :  "  Questa  o  quella," 
the  Duke;  "Deh  non  parlare,"  Rigo- 
letto;   "Veglia  o   donna,"  Rigoletto 


and  Gilda;  "E  il  sol  dell'  anima," 
tfie  Duke;  "  Caro  nome,"  Gilda; 
"  Zitti  zitti,"  male  chorus ;.  Act  II : 
"  Parmi  veder  le  lagrime,"  the  Duke ; 
"  Scorrendo  unita  remota,"  male 
chorus ;  "  Possente  amor,"  the  Duke ; 
"  Cortigiani  vil  razza  dannata,"  Rigo- 
letto; "Tutte  le  feste  al  tempio," 
and  "  Piange  fanciulla,"  Rigoletto  and 
Gilda;  Act  III:  "La  donna  e  mo- 
bile," the  Duke;  "Bella  figlia  dell' 
amore,"  quartet,  the  Duke,  Gilda, 
Maddalena,  and  Rigoletto;  "Lassu 
in  cielo," 'Gilda. 

EigolB.      REGALS. 

Bigore.     It.     Strict,  exact. 

Bii^oroso.      It.     Strictly. 

Bikk.  Modern  Egyptian  tambour- 
ine. 

Bilasciando.  It.  Relaxing  the 
time. 

Rilka.     Russian  LUTE. 

Kimbault  (Stephen  Francis) 
played  organ  St.  Giles  in  the  Field, 
London.  B.  1773;  d.  1837,  London. 
Edward  Francis  composed  the  op- 
eretta, "  Fair  Maid  of  islington," 
i838,  songs,  etc.;  edited  church  mu- 
sic and  reprints  of  antiquities; 
wrote  "  History  and  Construction  of 
the  Organ,"  with  E.  J.  Hopkins;  lec- 
tured; played  organ;  declined  Har- 
vard professorship  of  Music;  Dr. 
Phil.,  LL.D.;  pupil  of  his  father, 
STEPHEN  FRANCIS,  and  of  S.  Wes- 
ley. B.  June  13,  1816,  London;  d. 
Sept.  26,  1876,  London. 

Rimsky-ICoTsakov  (Nicholas 
Andreivitch)  composed  "  Pskovit- 
janka"  ("The  Girl  f rom -Psov,"  St. 
Petersburg,  1873;  "Zarskaja  New- 
jesta,"  St.  Petersburg,  1901;  "Antar," 
and  two  other  symphonies;  taught 
composition  and  instrumentation  at 
the  St.  Petersburg  Conservatory. 
Originally  intended  for  the  navy,  and 
a  pupil  of  the  Naval  Institute,  young 
Rimsky-Korsakov  had  the  advantage 
of  piano  lessons  at  the  same  time, 
and,  under  the  influence  of  Balakirev, 
determined  to  adopt  music  as  a  pro- 
fession. His  first  symphony  was  pro- 
duced at  21.  In  1871  he  joined  the 
staff  of  the  St.  Petersburg  Conserva- 
tory, was  made  director  of  the  Free 
School  of  Music,  inspector  of -the  Ma- 


BIirCK  544  Biira 

rine  Bands;  became  assistant  to  Bala-  acy  to  posterity.     In  them  are  most 

kirev   as   conductor   of   the   Imperial  perfectly   realized   his   theories    of   a 

orchestra,  1883,  and  in  1886  conductor  dramatic  art  which  should  unite  mu- 

of   the    Russian   Symphony   concerts,  sic,   poetry,  action,  and  declamation. 

Other    compositions    were    the    opera  In   them    he   sought   to   embody   the 

"  May  Night,"  1880,  "  Snegorotchka  "  principles  of  the  Greek  tragedians,  as 

(Snow  Princess),  1882;   "Mozart  und  he  understood  them;    to  assemble,  co- 

Salieri,"    Moscow;     the   opera    ballet  ordinate  and  use  as  a  means  of  ex- 

"Mlada,"   St.  Petersburg,   1892;    the  pression,   every   art  which   had  been 

opera  "  Christmas  Eve,"  1895,  a  sin-  under   the    divine    patronage    of    the 

fonietta,    Servian    fantasia,    Russian  Muses,  those  nine  sisters  from  whose 

overture,  the  musical  tableau  "Sadko,"  name  the  word  Music  is  derived.    As 

a  piano  concerto.     He  published  also  the  Greek  tragedians  chose  their  sub- 

a   harmonized   collection    of    Russian  jects    from    the    mythology    of    their 

songs,    and    orchestrated    Dargomyz-  race,  so  Wagner  desired  to  depict  the 

sky's     "  Commodore,"     Mussorgsky's  gods   and  goddesses  of  the   Teutonic 

"Khovanstehyna,"    and    Borodin's  peoples.      As    the    Greek    dramatists 

"  Prince  Igor."    B.  Tikhvin,  Novgorod,  found  material  in  the  sacred  poems  of 

May  21,  1844;   d.  June  24,  1908.  Homer  and  Hesiod,  so  Wagner  sought 

Binck  (Johanu  Christian  Hein-  his  in  the  Nibelungen  Lied,  or  rather 

rich)  composed  organ  music,  including  in  the  Bddas  from  which  they  were  de- 

a  "  Practical  Organ  School,"  chamber  rived.     In  1848,  after  the  completion 

music,  in  all  up  to  Op.  125;    became  of  "Lohengrin,"  he  wrote  a  three-act 

court    organist    at    Darmstadt,    and  drama,    "  Siegfried's    Tod,"    but    the 

toured  Grermany  as  virtuoso;    pupil  of  poetic   text    of    the    cyclus    was    not 

Kittel;     Dr.    Phil.    Giessen    Univer-  wholly  completed  until  1852,  nor  was 

sity  and  4hevalier  of  many  orders.    B,  the    "  Ring "   ready   for   performance 

Feb.  18,  1770,  Saxe-Gotha;   d.  Aug.  T,  until  the  Festspielhaus  had  provided 

1846,  Darmstadt.    See  Autobiography,  a  suitable  stage.    Dates  of  early  sepa- 

Binaldo.      George   Frederick   Han-  rate    performances    of    these    music 

del's  first  opera  composed  in  England,  dramas  will  be  found  in  the  biograph- 

the  theme  identical  with  Gluck's  "  AR-  ical    notice    of    Wagner.      The    casts 

MIDA,"  was  first  performed  Feb.  24,  presented     here    are     those     of    the 

1711,  at  the  King's  Theatre,  Haymar-  Bayreuth  production :  "DAS  RHEIN-, 

ket,  London.  GOLD"       (The   Rhine   Gold):     Wo- 

Binf.     Abbreviation  for  RINFOR-  tan     (Odin,     Father     of    Gods     and 

ZANDO.  Men),   Betz,   bar.;     Donner    (God   of  - 

Binforzando.     /*.     Suddenly  rein-  Thunder),  Gura,  bar.;  Froh   (God  of 

forced  or  accented.  Joy),   Unger,    ten.;     Loge    (Demigod 

Binforzare,  Binforzato.     /*.     To  personifying     Fire     and     Trickery), 

emphasize   or  reinforce.  Vogl,    ten.;     Alberich    (Nibelung   or 

Bingelpauke.       Oer.      Rattle     of  Gnome),  Hill,  bar.;    Mime  (Nibelung 

bars  and  rings.  or   Gnome),   Schlosser,    ten.;     Fafner 

Bing  of  the  Nibelung.  Richard  (Giant),  Von  Reiehenberg,  bass; 
Wagner's  Tetralogy  or  cycle  of  four  Fasolt  (Giant),  Eilers,  bar.;  Fricka 
music  dramas  to  his  own  text,  written  (Wotan's  wife),  Frau  von  Grun- 
in  alliterative  poetic  form,  was  first  Sadler,  mez.  sop.;  Freia  (Holda,  God- 
produced  as  a  complete  work  in  the  dess  of  Youth  and  Love),  Frl.  Haupt, 
newly  completed  Festspielhaus  at  sop.;  Erda  (Mother  Earth),  Frl. 
BAYREUTH,  between  Aug.  13  and  16,  Jaida,  con.;  Woglinde  (Rheindoohter' 
1876.  "Parsifal"  alone  excepted,  or  Rhine  daughter,  Frl.  Lilli  Leh- 
these  four  music  dramas,  "Rhein-  mann,  sop.;  Wellgunde  (Rheintochter 
gold,"  "Walkfire,"  "Siegfried,"  and  or  Rhine  daughter),  Frl.  Marie  Leh- 
" Gotterdammerung,"  were  regarded  mann,  mez.  sop.;  Flosshilde  (Rhein- 
by  the  composer  as  the  most  perfect  tochter  or  Rhine  Daughter),  FrL  Lam- 
fruit  of  his  genius,  and  his  chief  leg-  mert,     con.       "  DIE     W4LKURB " 


RING 


545 


BINO 


(The  Valkyrs).     Siegmund    (Son  of  ingly  at  the  lamentations  of  his  tor- 

Wotan  and  a  Volsung  woman),  Nie-  mentors.    A  transformation  is  quickly 

mann,    ten.;     Siegelinde     (Sister    of  efifected.    The  stage  now  represents  a 

Siegmund  and  wife  of  Hunding),  Frl.  rocky  height  from  which,  in  the  dis- 

Schefzky,  sop.;    Hunding  (A  Neidung  tance,  the  walls  of  WaJhalla  may  be 

and  _  at    war    with    the    Volsungs ) ,  seen.    Fricka  and  Wotan  awaken  from 

Niering,    bass;     Wotan,    Betz,    bar.;  their   sleep,  and  Wotan's  delight   at 

Fricka,   Frau  von   Grun-Sadler,   mez.  the  completion  of  his  dwelling  place  is 

sop.;     Briinnhilde    (Valkyr,  daughter  somewhat   subdued   when   Fricka    re- 

of  Wotan  and  Erda),  Frau  Friedrich-  proaches  him  with  his  infidelities  to 

Materna,  sop. ;    and  her  eight  sister-  her,  and  with  the  bargain  he  has  made 


Valkyrs,  Roseweise,  sop.:  Grimgerde, 
sop.,  Helmwige,  mez.  sop.;  Ger- 
hilde,  mez.  sop.;  Ortlinde,  mez.  sop.; 
Waltraute,     con.;       Siegrune,     con.; 


with  Fafner  and  Fasolt,  whereby  Freia 
is  to  be  surrendered  to  the  giants  in 
payment  for  their  services  as  build- 
ers.    Freia   comes   in,   terrified,   and 


Schwertleite,  con.  "  SIEGFRIED."  seeking  protection  from  Wotan.  Faf- 
Siegfried  (Son  of  Siegmund  and  ner  and  Fasolt  enter,  claiming  their 
Sieglinde),  Unger,  ten.;  Mime,  reward,  but  Wotan  tries  to  evade  pay- 
Schlosser,  ten.;  Der  Wanderer  (Wo-  ment.  The  giants  are  raging.  They 
tan),  Betz,  bar.;  Alberich,  Hill,  had  agreed  that  Fasolt  should  have 
bar.;  Fafner  (the  Giant,  now  a  Freia,  while  Fafner  would  be  content 
Dragon),  Von  Reichenberg,  bar.;  with  the  golden  apples  in  Freia's  gar- 
Erda,  Frau  Jaida,  con. ;  Briinnhilde,  den.  As  they  are  about  to  take  Freia 
Frau  Friedrich-Materha,  sop.  "  DIE  by  force,  Froh  and  Donner  confront 
GOTTERDAMMERUNG "  (The  Twi-  them,  and  Donner  would  kill  them 
light  of  the  Gods ) .  Siegfried,  Unger,  with  a  swing  of  his  hammer,  but  Wo- 
ten.;  Gunther  (Gibichung,  of  an  he-  tan  interferes,  being  afraid  of  the  con- 
roic  race),  Gura,  bar.;  'Bn.gen  (Son  sequences.  Loge,  on  whom  Wotajf  re- 
of  Alberich,  half  brother  of  Gunther),  lies  for  the  means  of  saving  Freia, 
von  Reichenberg,  bass;  Alberich,  Hill,  tells  of  the  Ring  Alberich  has  fashioned 
bar.;  Brunnhilde,  Frau  Friedrich-  from  the  Rheingold,  and  the  power  it 
Materna,  sop.;  Gutrune  (Sister  of  confers.  Gods  and  giants  alike  covet 
Gunther  and  Hagen),  Frl.  Weckerlin,  the  Ring,  which  can  only  be  obtained 
sop.;  Three  Norns  (Fates),  and  the  by  theft,  and  Fasolt  and  Fafner  agree 
three  Rhine  Daughters.  Waltraute,  to  accept  the  Rheingold  in  lieu  of 
Frau  Jaida,  con.  "Das  Rheingold."  Freia,  but  depart,  taking  her  with 
After  an  orchestral  prelude  intended  them  until  she  shall  be  ransomed, 
to  suggest  the  idea  of  moving  water,  Freia's  golden  apples,  which  preserve 
the  rising  curtain  discloses  the  rocky  the  gods'  eternal  youth,  wither  when 
depths  of  the  Rhine.  Woglinde,  Well-  she  goes,  and  whatever  scruples  Wotan 
gunde,  and  Flosshilde,  guardians  of  may  have  felt  regarding  the  proposed 
the  Rheingold  treasure,  amuse  them-  theft  are  overcome  by  the  necessity  of 
selves  with  teasing  Alberich,  pretend-  getting  Freia  back  again.  A  second 
ing  in  turn  to  be  captivated  by  his  transformation  depicts  the  caverns  of 
grotesque  love-making,  then  swimming  Nibelheim.  Mime  has  just  completed 
quickly  out  of  his  reach.  The  lustful  a  Tarnhelm  or  wishing  cap.  Alberich 
Alberich  is  enraged,  tries  in  vain  to  putting  it  on,  has  become  mvisiWe, 
seize  one  of  the  Rhine  maidens,  but  a  beats  Mime,  and  then  leaves  for  the 
ray  of  sunlight  illuminates  the  Rhein-  hidden  chambers  where  his  slaves  are 
gold,  and  when  its  guardians  tell  him  working  amid  the  treasure.  Mime  is 
that  this  treasure  will  confer  supreme  screaming  with  pain  as  the  gods  enter, 
power  upon  whomsoever,  renouncing  He  tells  of  his  woes,  of  the  tyranny  of 
the  delights  of  love,  shall  steal  it,  Alberich,  and  describes  the  powers  of 
Alberich  tears  the  treasure  from  its  the  Tarnhelm.  Alberich,  _  the  Tarn- 
resting  place  and  disappears  in  the  helm  in  has  belt,  enters,  driving  before 
depths  of  the  stream,  laughing  mock-   him  a  gang  of  dwarfs  laden  with  treas- 


BINO 


54B 


BING 


ure.  Confident  of  his  power,  he  mocks 
at  the  gods.  Loge  suggests  that  while 
he  sleeps  some  one  will  steal  the  treas- 
ure. Alberich,  with  the  aid  of  the 
Tarnhelm,  transforms  himself  into  a 
mighty  serpent,  to  show  how  easily  he 
can  guard  his  possessions.  Loge  pre- 
tends amazement,  but  says  that  Albe- 
rich caimot  transform  himself  to  any- 
thing as  small  as  a  toad.  Alberich  in- 
stantly proves  that  he  can,  then  Wotan 
puts  his  foot  on  the  toad,  Loge  picks 
up  the  Tarnhelm,  and  Alberich,  re- 
stored to  his  natural  form,  is  securely 
bound  and  dragged  away  by  the  gods. 
Again  the  stage  settings  portray  the 
rocky  heights,  with  Walhalla  in  the 
distance.  Alberich,  forced  to  ransom 
himself  by  giving  the  Bheingold  to  the 
gods,  has  his  dwarfs  bring  the  treas- 
ure from  Nibelheim;  then,  deprived 
of  the  gold,  the  Ring  and  the  Tarn- 
helm, follows  them  back  to  the  bowels 
of  the  earth,  cursing  treasure  and  gods 
alike  as  he  goes.  Fasolt  and  Fafner 
return  with  Freia,  plant  their  clubs 
in  front  of  her,  and  demand  that 
enough  gold  be  piled  up  to  hide  her 
from  their  view.  Not  until  the  Tarn- 
helm and  the  King  have  been  added  to 
the  heap  is  Freia  eomgletely  hidden, 
and  the  Ring  Wotan  refuses  to  give 
until  warned  by  Erda  that  he  must. 
The  giants  quarrel  over  the  possession 
of  the  treasure.  Fafner  kills  Fasolt 
with  a.  blow  of  his  club,  gathers  up 
the  treasure  in  his  bag,  and  marches 
off.  Then  Donner  swings  his  hammer, 
and  the  clouds  which  have  overhung 
Walhalla  are  dissipated.  Froh  bridges 
the  chasm  between  Walhalla  and  the 
heights  with  a  rainbow,  and  as  the 
gods  prepare  to  pass  over  this  bridge 
to  take  possession  of  the  new  home, 
the  Rhine  maidens  are  heard  bewail- 
ing the  loss  of  their  treasure.  .  "  Die 
Walkiire."  The  first  act  takes  place 
within  Hunding's  hut,  built  up  about 
a  great  tree  wherein,  in  past  times, 
Wotan  or  the  Wanderer,  has  thrust  a 
sword  so  deeply  that  only  the  hilt  is 
visible.  Sieglinde,  busied  in  household 
duties,  is  interrupted  by  the  entrance 
of  Siegmund,  worn  with  battle  and 
seeking  shelter  from  the  storm.  She 
gives  him  a  horn  of  mead,  and  prom- 


ises hospitality.  Hunding,  returning 
from  the  chase,  confirms  this  promise, 
but  on  learning  Siegmund  is  a  Vol- 
sung,  tells  him  they  ibust  fight  next 
morning.  Alone  and  weaponless,  Sieg- 
mund remembers  that  his  father  had 
told  him  of  the  sword  Nothung  ( Need- 
ful) which  one  day  should  be  his. 
Sieglinde,  having  drugged  Hunding, 
returns,  and  points  out  to  Siegmund 
the  hilt  of  Nothung  in  the  tree.  With 
a  mighty  effort  Siegmund  plucks  it 
forth.  Then  brother  and  sister,  twin 
children  of  Wotan,  determine  to  es- 
cape from  Hunding's  power.  The  next 
act  opens  with  a  meeting  between  Wo- 
tan and  Brtinnhilde,  which  is  inter- 
rupted by  the  entrance  of  Fricka,  who 
scolds  Wotan  much  as  Juno  was  wont 
to  scold  Jupiter  for  his  marital  lapses. 
Fricka  demands  that  Sieglinde  and 
Siegmund  die  as  punishment  for  their 
incestuous  love,  and  forces  Wotan  to 
swear  that  die  they  shall.  Briinnhilde 
returns,  Wotan  tells  her  story  of  the 
Rheingold  and  repents  of  his  promise 
to  Fricka ;  but  when  Briinnhilde  offers 
to  save  Siegmund  he  sternly  com- 
mands her  to  destroy  him.  As  Wotan 
and  the  Valkyr  depart,  Siegmund  and 
Sieglinde  enter,  wholly  exhausted,  yet 
knowing  Hunding  to  be  close  behind 
them.  Reproaching  herself  for  having 
yielded  to  her  passion,  Sieglinde  falls 
into  a  swoon,  and  while  she  is  uncon- 
scious Briinnhilde  comes  to  summon 
Siegmund  to  Walhalla.  He  refuses  to 
be  separated  from  Sieglinde,  and  in  his 
extremity  is  about  to  kill  her  that  they 
may  be  at  least  tmited  in  death. 
Briinnhilde,  overcome  with  pity,  de- 
termines to  save  them.  Then  comes 
the  fight  between  Siegmund  and  Hund- 
ing. Briinnhilde  covers  Siegmund 
with  her  shield,  but  as  he  is  about  to 
deal  Himding  a  deadly  blow,  Wotan 
suddenly  appears,  thrusts  out  his 
spear,  against  which  Siegmund's  sword 
is  shattered.  Siegmund  is  slain.  With 
a  mere  gesture  Wotan  slays  Hunding. 
Briinnhilde  quickly  gathers  the  frag- 
ments of  the  sword,  and  carries  Sieg- 
linde away  in  order  to  place  her  in 
safety  before  Wotan's  wrath  shall  de- 
scend upon  her.  The  third  act  reveals 
the  Rock  of  the  Valkyrs,  where  after 


RING 


547 


BING 


assembling  in  a  wild  flight  the  war 
maidens  await  Brilnnhilde,  their  sis- 
ter. A  moment  later  Brunnhilde  brings 
in  Sieglinde,  tells  the  other  Valkyrs 
what  she  has  done,  and  begs  them  to 
save  Sieglinde  from  Wotan.  Sieglinde 
asks  only  to  die,  but  Brunnhilde  tells 
her  she  shall  bear  a  hero,  and  gives 
her  the  fragments  of  Nothung  to  keep 
for  him  until  he  shall  have  become  a 
man.  Sieglinde  then  gladly  seeks  the 
shelter  of  a  cavern.  Brilnnhilde  pre- 
pares to  face  Wotan,  who  soon  ap- 
pears, and  after  sending  her  sisters 
away  pronounces  her  doom.  No  longer 
his  favourite  war  maiden,  she  shall,  as 
a  mere  woman,  become  the  property 
of  the  first  man  who  claims  her.  After 
vainly  endeavouring  to  soften  Wotan, 
Brilnnhilde  as  a  last  request  begs  that 
she  may  be  surrounded  by  a  wall  of 
fire,  so  that  only  a  hero  may  dare 
to  claim  her.  To  this  Wotan  consents. 
Touched  with  pity,  he  bids  her  a  fond 
farewell,  then  lays  her  upon  a  bed  of 
moss,  covers  her  with  shield  and  hel- 
met, and  striking  the  rock  with  his 
spear  invokes  Loge.  Flames  spring 
up,  a  protecting  barrier  about  the  Val- 
kyr's bed,  and  as  Wotan  retires  he 
utters  the  words :  "  Who  f e'ars  the  tip 
of  my  spear,  never  shall  pass  through 
this  fire."  The  curtain  falls.  "  Sieg- 
fried." The  son  of  Siegmund  and 
Sieglinde,  now  a  well  grown  lad, 
brought  up  by  Mime,  watches  his 
father  by  adoption  attempt  to  forge 
a  long  promised  sword.  But  such 
weapons  as  Mime  can  forge,  Siegfried 
breaks  at  a  blow.  Mime  seeks  to  re- 
cover the  Ring  and  the  other  treasure 
from  Fafner,  realizes  that  he  can  ac- 
complish this  only  through  Siegfried, 
BO  he  shows  the  fragments  of  Nothimg 
to  the  lad,  saying  if  Siegfried  could 
only  reforge  this  sword  he  might  be 
able  to  slay  the  Dragon  (Fafner). 
Siegfried  commands  Mime  to  try 
again,  and  goes  into  the  forest,  leaving 
the  dwarf  alone.  Wotan  enters,  dis- 
guised as  the  Wanderer,  claiming  hos- 
pitality. In  the  dialogue  which  fol- 
lows, the  action  of  the  previous  dramas 
is  recalled.  Then  dwarf  and  god  agree 
that  each  shall  ask  the  other  three 
questions,  and  that  failure  to  answer 


shall  forfeit  the  loser's  head.  Mime 
asks :  Who  dwell  in  the  bowels  of  the 
earth?  who  on  the  face  of  the  earth? 
and  who  on  the  cloudy  heights?  Wo- 
tan replies  the  dwarfs,  the  giants, 
the  gods,  of  whom  Wotan  is  chief. 
Then  as  Wotan's  spear  strikes  the 
ground,  thunder  is  heard,  and  Mime 
realizes  that  his  visitor  is  the  chief 
god  himself.  Wotan  propounds  these 
questions :  What  race  does  Wotan  per- 
secute, though  he  loves  them?  what 
sword  must  Siegfried  have  in  order  to 
slay  Fafner?  who  will  forge  that 
sword?  Mime  replies  that  it  is  the 
Volsungs  whom  Wotan  persecutes  yet 
loves,  and  that  the  sword  is  called 
Nothung,  but  he  cannot  answer  the 
third  question.  Wotan  tells  him  laugh- 
ingly that  Nothung  can  be  forged  only 
by  one  who  knows  no  fear,  and  be- 
queaths Mime's  head  to  that  hero. 
Mime,  again  alone,  is  overcome  with 
terror,  and  when  Siegfried  returns 
the  sword  is  still  in  fragments.  Sieg- 
fried undertakes  the  task  himself.  As 
he  works,  Mime  realizing  that  he  will 
succeed,  prepares  a  poison  with  which 
to ,  kill  the  boy  when  he  shall  have 
slain  the  Dragon.  Siegfried,  singing 
at  his  task,  perfects  the  weapon,  then 
swinging  it  over  his  head,  cleaves 
through  the  anvil  at  a  single  blow. 
The  second  act  portrays  the  forest 
near  the  cave  in  which  Fafner,  trans- 
formed by  the  power  of  the  Tamhelm 
into  a  Dragon,  guards  the  Ring  and 
treasure.  Alberich  and  Wotan  meet, 
and  the  dwarf  greets  the  god  with  a 
volley  of  abuse,  to  which  Wotan  re- 
plies that  Siegfried  threatens  to  slay 
the  Dragon,  and  suggests  that  Alberich 
may  recover  the  Ring  by  warning  the 
Dragon  of  impending  danger.  But  the 
Dragon,  answering  Alberich,  declares 
in  a  sleepy  voice  fiiat  he  will  welcome 
the  hero,  as  he  is  hungry,  and  bids 
Alberich  let  him  sleep  in  peace.  Wo- 
tan vanishes,  and  Alberich  hides  to 
await  the  coming  of  the  hero.  Bear- 
ing in  mind  that  he  should  be  killed, 
according  to  Wotan's  prophecy,  by;  a 
"  fearless  one,"  Mime  brings  Siegfried 
to  see  the  Dragon,  in  order  that  he  may 
be  frightened,  meaning,  in  case  the 
Dragon  is  slain,  to  poison  Siegfried, 


RING 


548 


■RtTSlQ 


and  possess  himself  of  the  treasure. 
Siegfried  orders  Mime  to  leave  him, 
cuts  a  whistle  with  which  he  tries  to 
imitate  the  songs  of  the  forest  birds, 
and  when  the  Dragon  pokes  its  head 
from  the  cavern,  instead  of  being 
frightened  only  laughs.  Then  he  at- 
tacks and  kills  the  Dragon,  which,  in 
dying,  warns  him  of  a  plot  against 
his  life.  A  drop  of  the  Dragon's  blood 
has  fallen  on  Siegfried's  hand.  It 
burns,  and  Siegfried  puts  his  hand  to 
his  mouth,  and  is  astonished  to  find 
that  the  taste  of  the  Dragon's  blood 
has  enabled  him  to  understand  the 
language  of  the  birds.  One  of  the 
birds  tells  him  to  enter  the  cave  and 
take  the  Ring,  and  when  he  has  done 
so  warns  him  against  Mime.  But  the 
Dragon's  blood  has  likewise  enabled 
Siegfried  to  read  Mime's  thoughts  be- 
fore they  are  uttered,  and  when  Mime 
offers  him  the  poisoned  drink  Sieg- 
fried strikes  him  dead  with  a  blow 
from  his  sword.  Then  the  bird  tells 
Siegfried  of  the  beautiful  Valkyr 
asleep  on  a  rock  surrounded  by  fire, 
and  Siegfried  asks  the  bird  to  lead 
him  to  the  maiden.  The  third  act 
takes  place  at  the  foot  of  the  Rock  of 
the.  Valkyrs.  Wotan  consults  Erda  as 
to  the  means  of  averting  the  doom 
closing  about  Walhalla:,  but  finding 
her  wisdom  powerless  to  aid  him,  ex- 
presses his  resignation  to  whatever 
fate  may  bring  forth.  Erda  sinks  back 
to  earth  as  Siegfried  appears,  still 
following  the  bird.  Wotan  attempts 
to  bar  Siegfried's  progress,  but  with  a 
stroke  of  Nothung,  Siegfried  severs 
Wotan's  spear,  and  the  god  vanishes. 
Siegfried  climbs  boldly  through  the 
flames,  and  in  a  moment  the  scene 
changes  to  the  fiery  circle  within 
which  Brunnhilde  sleeps.  Siegfried 
removes  her  helmet  and  armour,  and  is 
filled  with  wonder.  He  has  never 
before  seen  a  woman,  and  beneath  the 
shining  mail  are  the  soft  garments  out- 
lining a  form  dreamed  of  but  un- 
known. For  the  first  time  he  is  afraid, 
but  soon  this  new  sensation  passes 
away,  and  with  a  long  impassioned 
kiss  he  awakens  Brunnhilde.  The  Val- 
kyr joyously  greets  the  light,  and  rec- 
ognizes the  destined  hero  in  Siegfried ; 


but  recalling  her  divine  origin,  seeks 
to  repel  his  advances.  Siegfried's  pas- 
sion finally  awakens  the  woman's  soul, 
and  the  former  Valkyr  yields  to  his 
embraces.  "  Die  Gotterdammer- 
ung."  The  last  drama  of  the  Tetral- 
ogy opens  with  a,  prologue.  Three 
Nornes  or  Fates  are  in  conference  near 
the  Rock  of  the  Valkyrs.  Fastening 
their  golden  rope  to  a  tree,  or  rock, 
they  narrate  in  turn  the  early  coming 
of  Wotan,  who  had  fashioned  his  spear 
from  the  World-ash  tree,  how  Siegfried 
had  broken  the  spear,  and  how  Wotan 
had  thereafter  caused  his  heroes  to 
make  firewood  of  the  World-ash  to 
serve  as  the  pyre  of  the  gods  at  Wal-. 
halla  when  the  end  should  come.  But 
before  they  can  foretell  what  is  about 
to  happen,  their  golden  rope  breaks, 
and  they  vanish.  '  The  day  dawns. 
Siegfried  and  Brflnnhilde  come  forth 
from  their  cavern.  Besides  imparting 
much  of  her  divine  wisdom  to  Sieg- 
fried, Briinnhilde  has  given  him  her 
shining  armour,  has  made  him  invul- 
nerable, except  in  the  back,  and  she 
gives  him  her  horse  Grane,  that  he 
may  ride  forth  to  new  adventures.  To 
Brflnnhilde  Siegfried  gives  the  Ring 
in  pledge  bf  fidelity.  The  Hall  of  the 
Gibiehungs,  overlooking  the  Rhine,  is 
dhown  as  the  curtain  rises  on  the  first 
act.  Gunther  longs  to  wed  Brflnn- 
hilde, and  his  sister  Gutrune  loves 
Siegfried,  whose  exploits  she  has 
heard,  though  neither  of  them  is 
aware  Siegfried  and  Brflnnhilde  have 
been  united.  Hagen,  half  brother  of 
Gunther  and  Gutrune,  has  inherited 
from  his  father  Alberich  a  wild  and 
ruthless  nature  and  has  promised  to 
aid  Alberich  to  recover  the  Ring.  In 
counselling  the  marriage  of  Gutrune 
and  Siegfried,  Hagen  means  that  Sieg- 
fried shall  then  be  compelled  to  go 
through  the  flames  to  bring  Brflnn- 
hilde for  Gunther.  It  is  suggested 
that  Siegfried  may  already  be  in  love, 
but  Hagen  has  brewed  a  magic  philtre 
which  will  cause  the  hero  to  love  Gu- 
trune and  forget  all  other  women. 
When  this  plan  has  been  agreed  on, 
Siegfried's  horn  is  heard  in  the  dis- 
tance, as  he  is  sailing  down  the  Rhine 
in  a  boat.    The  Gibiehungs  welcome 


BING 


549 


BINO 


him,  he  accepts  a  horn  of  mead  from 
Gutnme,  drinks,  instantly  forgets 
BrUnnhilde,  and  loves  Gutrune.  He 
demands  her  hand  in  marriage,  and 
the  brothers  agree,  only  stipulating 
that  Siegfried  shall  first  bring  Brtiim- 
hilde  to  them.  Siegfried  and  Gun- 
ther  swear  blood-brotherhood,  and 
the  two  set  forth  in  quest  of  Briinn- 
hilde,  while  Hagen  remains  to  guard 
the  house.  Then  the  action  shifts 
to  the  scene  of  the  prologue.  Brunn- 
hilde  is  visited  by  her  sister  Val- 
kjt,  Waltraute,  who  tells  of  the 
gloom  in  Walhalla,  where  the  gods 
await  their  end.  Wotan  had  said  that 
if  Brilnnhilde  would  return  the  Ring 
to  the  Rhine  maidens,  the  curse  it  had 
brought  upon  the  gods  and  the  world 
would  be  removed.  But  to  Briinnhilde 
the  Ring  is  pledge  of  Siegfried's  love, 
and  she  declines.  As  Waltraute  rides 
back  to  Walhalla,  Siegfried's  horn  is 
heard.  It  is  Siegfried,  but,  by  the 
Tarnhelm's  power,  in  the  likeness  of 
Gunther,  who  enters.  Briinnhilde  flies 
in  terror  from  this  stranger,  but  Sieg- 
fried pursues,  subdues,  and  deprives 
her  of  the  Ring.  Together  they  enter 
the  cavern,  but  Sie^ried  has  drawn 
his  sword  to  place  between  them  in 
proof  of  his  fidelity  to  Gunther.  The 
second  act  transpires  on  the  river 
bank  in  front  of  the  Hall  of  the  Gi- 
bichungs.  Hagen,  spear  in  hand,  sits 
asleep  in  the  moonlight.  Alberich 
talks  to  him,  appearing  as  in  a  dream 
or  vision,  and  father  and  son  plan  to 
possess  themselves  of  the  Ring,  and  to 
rule  the  world  between  them.  At  the 
dawn  of  day  Siegfried  appears.  He 
recounts  the  adventure  just  concluded, 
and  explains  that  he  has  come  at  once, 
by  using  his  Tarnhelm,  while  Gunther 
and  Brflnnhilde  are  following  in  a 
boat.  Hagen  thereupon  calls  the  vas- 
sals together  with  a  blast  of  his  horn, 
and  orders  preparations  for  the  wed- 
ding of  Gunther.  On  seeing  Siegfried, 
Briinnhilde  is  so  overcome  with  emo- 
tion as  to  faint  in  his  arms.  But  when 
Siegfried  claims  Gutrune  as  his  bride, 
and  she  sees  the  Ring  on  his  finger,  she 
is  both  angry  and  astonished.  She 
claims  Siegfried  as  her  husband.  He, 
Btill  under  the  influence  of  Hagen's 


philtre,  swears  on  Hagen's  spear  that 
her  accusation  is  false.  By  the  same 
ceremony  Briinnhilde  renews  her 
charges,  and  consecrates  the  weapon  to 
Siegfried's  destruction.  Siegfried  en- 
ters the  hall  with  Gutrune,  and  at 
Hagen's  instigation  Briinnhilde  and 
Gunther  begin  to  plan  the  murder  of 
the  hero.  Briinnhilde  explains  that  he 
is  vulnerable  only  in  the  back,  and  it 
is  decided  that  he  shall  be  killed  while 
hunting.  The  third  act  takes  place  in 
a  dense  forest  near  the  Rhine.  The 
Rhine  maidens  are  still  bewailing  the 
loss  of  their  treasure.  Siegfried,  wan- 
dering away  from  his  companions, 
draws  near  them,  and  they  plead  with 
him  to  give  them  the  Ring.  Finding 
him  obdurate,  they  threaten  him  with 
impending  death,  which  makes  him 
only  the  more  obstinate.  The  hunts- 
men gather  for  rest  and  refreshment. 
Hagen  mingles  with  Siegfried's  drink 
a  potion  which  restores  his  memory,  so 
he  tells  the  story  of  his  life,  including 
the  wooing  and  winning  of  Briinnhilde. 
Then  the  ravens  fly  through  the  wood, 
and  as  Siegfried  turns  to  look  at  them, 
Hagen  stabs  him  in  the  back.  Sieg- 
fried turns  and  tries  to  crush  Hagen 
with  his  shield ;  but  the  effort  is  too 
much,  and  he  falls,  dying,  on  his  shield, 
which  has  dropped  from  his  clutch. 
His  last  words  are  a  delirious  greeting 
to  Briinnhilde.  Then  the  scene  shifts 
back  to  the  Hall  of  the  Gibichungs. 
Gutrune,  who  is  waiting  for  the  return 
of  Siegfried,  hears  from  Hagen  that 
Siegfried  has  been  killed  by  a  wild 
boar,  and  swoons  when  the  body  is 
brought  in.  Hagen  lays  claim  to  the 
Ring,  and  when  opposed  by  Gunther 
kills  him.  Then  Hagen  attempts  to 
remove  the  Ring  from  Siegfried's  hand, 
but  the  dead  hand  is  raised  in  menace, 
just  as  Briinnhilde  enters.  Gutrune 
complains  that  Briinnhilde  is  respon- 
sible for  the  evil  which  has  befallen 
them,  but  Briinnhilde  haughtily  re- 
plies that  Siegfried  was  her  husband, 
and  directs  that  the  fimeral  pyre  be 
built.  Then  removing  the  Ring  from 
Siegfried's  finger,  after  Siegfried's 
body  has  been  placed  in  position,  she 
fires  the  pyre  with  a  torch,  and  seizing' 
Grane,  rushes  into  the  flames.     The 


BINtrCCINI 


550 


RISVEaLIABE 


Hall  of  the  Gibichungs  catches  fire, 
but  soon  the  pyre  dies  down  and  col- 
lapses. Then  the  waters  of  the  Rhine 
overflow  the  Hall,  and  the  Bhein- 
tochter  swim  in  on  the  waves  to  res- 
cue the  precious  Ring  from  the  ashes. 
Hagen,  who  attempts  to  tear  the  Ring 
from  the  Rhine  maidens  is  drowned, 
and  as  the  Rhine  maidens  rejoice  in 
the  recovery  of  their  treasure,  a  great 
light  arises  in  the  north.  Walhalla  is 
burning.  The  reign  of  the  gods  has 
ended.  In  these  music  dramas  Wag- 
ner's employment  of  the  LBIT  MOTIF 
reaches  its  culmination.  It  is  said 
that  these  themes  suggested  themselves 
to  him  as  he  was  writing  the  books 
and  before  he  had  actually  begun  to 
compose  the  music.  However  that 
may  be  they  are  interwoven  with  mar- 
velous ingenuity  throughout  the  text 
of  the  Tetralogy,  and  are  assembled 
most  eflFectively,  not  only  in  the  Fu- 
neral March,  but  in  Brunnhilde's  fare- 
well. Despite  Wagner's  aversion  to 
the  performance  of  his  music  in  concert 
form,  such  passages  as  the  Ride  of  the 
Valkyrs,  Wotan's  Farewell  and  the 
Magic  Fire  Scene  from  Walkiire;  the 
Waldweben  from  Siegfried;  and  the 
Funeral  March  from  Gijtterdammer- 
ung  have  been  favourite  concert  num- 
bers for  years. 

Kinuccini  (Ottavio)  wrote  the  li- 
bretto for  "  Dafne,"  the  first  Italian 
opera  composed  by  Peri  and  Gaccini, 
1594,  and  Monteverde's  "Arianna  a 
Nasso,"  1608.  B.  1562,  Florence;  d. 
1621. 

Rio  de  Janeiro.  The  Brazilian  cap- 
ital had  its  musical  beginnings  in  the 
establishment  of. a  Conservatory  of 
Music  in  Vera  Cruz  with  PORTO- 
GALLO  as  director,  by  the  Emperor 
Dom  Pedro,  1813.  An  excellent  opera 
house,  many  smaller  theaters  devoted 
to  lyric  drama,  numerous  organizations 
for  the  cultivation  of  choral  and  orches- 
tral music,  together  with  the  concerts 
of  the  national  bands  combined  to  make 
the  metropolis  of  Brazil  a  music  centre 
of  first  importance  in  South  America. 
The  principal  publishing  house  in 
South  America  was  founded  in  that 
city  by  A.  NAPOLAO. 

Biotte    (Philip    Jacob)    composed 


the  highly  popular  "  Battle  of  Leip- 
sic,"  the  operetta  "Das  Grenz- 
stadtchen,"  Karnthnerthor  Theatre, 
Vienna,  1840 ;  the  cantata  "  The  Cru- 
sade," 1852,  in  all  48  operas,  operettas, 
ballets;  etc.,  and  a  symphony,  sonatas, 
etc. ;  music  director  of  the  Congress  of 
Erfurt,  and  from  1818  conductor  at 
the  Vienna  Theater  an  der  Wien.  B. 
Aug.  16,  1776,  St.  Mendel,  Treves;  d. 
Vienna,  Aug.  20,  1856. 

Bipiendo.  /*.  "  Supplementary.'' 
Early  orchestral  concertos  in  which 
the  solo  instruments  were  accompanied 
by  others  which  merely  filled-  in  the 
harmony;  thus  an  additional  or  sup- 
plemenUiry  part:  on  Italian  organs  a 
mixture  stop. 

Biposta.   It.  An  answer  in  FUGUE. 

Bippon  (John)  composed  the  ora- 
torio "  The  Crucifixion  " ;  compiled 
"  Selection  of  Psalm  and  Hymn 
Tunes " ;  evangelical  minister.  B. 
April  29,  1751,  Tiverton;  d.  1836, 
London. 

Bipresa.  It.  REPRISE,  BURDEN, 
REPEAT. 

Bischbieter  (Wilhelm  Albert) 
composed  symphonies,  overtures; 
taught  theory,  Dresden  Conservatory; 
played  violin;  pupil  of  Hauptmann. 
B.  1834,  Brunswick;   add.  Dresden. 

Biseley  (George)  composed  a  Ju- 
bilee Ode,  1887,  part-songs;  founded 
Bristol  Choral  Society,  conducted; 
played  organ  Bristol  Cathedral;  pupil 
of  Corfe.  B.  Aug.  28,  1845,  Bristol; 
add.  London. 

Bisentito.  It.  With  expressive 
energy.  ^ 

Bisler  (Joseph  Edouard)  played 
piano ;  was  attached  to  Festspielhaus 
and  Paris  Op6ra,  and  in  1906  became 
member  of  the  superior  council,  Paris 
Conservatoire,  where  he  had  been  a 
prize  pupil  under  Diemer;  also  studied 
with  Dimmler,  Stavenhagen,  D'Albert, 
and  Klindworth.  B.  Feb.  23,  1873, 
Baden;     add.  Paris. 

Bisolutamente,  Bisoluzione,  con. 
/*.      With    resolution. 

Bisolutissimi.   It.   Very  resolutely. 

Bisonanza.     /*.    RESONANCE. 

Bistretto.    It.    STRETTO. 

Bisvegliare.  It.  To  rouse  up  or 
reinvigorate. 


RISVIGLIATO 


551 


BOAST    BEEF 


Bisvigliato.     /*.    With  animation. 

Bit.  Abbreviation  for  RITAR- 
DANDO. 

Bitardando,  Bltardato.  It.  With 
gradually  decreasing  speed. 

Bitardo.     It.    To  retard. 

Eiten.  It.  Abbreviation  for  RI- 
TENENDO,  etc. 

Eitenendo,  Bitenente,  or  Bite- 
nuto.    /*.    To  retard  the  speed. 

Bitmo  di  quattro  battute.  It. 
"  Rhythm'  of  four  beats  "  or  common 
time. 

Bitmo  di  tre  battute.  It. 
"  Rhythm  of  three  beats."  Compoimd 
triple  time. 

Bitomello.  It.  "  Return  "  or  rep- 
etition; an  interlude;  instrumental 
accompaniment  of  a  song;  Italian 
folksong. 

Bitter  (Frederic  Louis)  wrote  "  A 
History  of  Music  in  the  Form  of  Lec- 
tures," 1870-74;  "  Music  in  England  " 
and  "  Music  in  America,"  1883 ;  taught 
at  Vassar  College ;  compiled  "  A  Prac- 
tical Method  for  the  Instruction  of 
Chorus-classes";  composed  sym- 
phonies in  A,  E  minor,  and  E  flat, 
songs,  choruses,  and  church  music; 
conducted  the  Sacred  Harmonic  So- 
ciety and  Arion,  New  York,  1861-67; 
pupil  of  Hauser,  Schletterer,  and  in 
Paris  under  his  cousin  Georges  Kast- 
ner.  B.  June  22,  1834,  Strasburg;  d. 
June  22,  1891,  Antwerp.  Fanny  Bay- 
mond  wrote  "  Woman  as  a  Musician," 
translated  works  on  music.  B.  1840, 
Philadelphia;  m.  FREDERIC  LOUIS; 
add.  London. 

Bitter  (Hermann)  played  the 
"  Viola  Alta,"  which  was  an  instru- 
ment he  devised  resembling  the  obso- 
lete tenor  viol,  and  free  from  the 
muffled  tone  of  the  ordinary  viola; 
wrote  on  musical  topics ;  taught  musi- 
cal history,  sestheties  and'viola  at  the 
royal  Wtirzburg  school;  composed  and 
arranged  music  for  viola.  B.  Sept.  26, 
1849;    add.  Wiirzburg. 

Bitter  (Theodore)  composed  the 
operas  "  Marianne,"  Paris,  1861 ;  "La 
dea  risorta,"  Florence,  1865;  popular 
pieces  de  salon;  pupil  of  Liszt,  real 
name  Bennet.  B.  April  4,  1841,  near 
Paris;   d.  April  6,  1886,  Paris. 

Bitz  or  Eietz  (Eduard)  played  vio- 


lin; known  as  the  intimate  friend  of 
Mendelssohn ;  pupil  of  his  father,  and 
of  Rode.  B.  1801,  Berlin;  d.  Jan.  23, 
1832.  Julius  composed  three  sym- 
phonies, four  operas,  masses,  over- 
tures, chamber  music;  conducted  the 
Leipsic  Gewandhaus  concerts;  taught 
composition  Leipsic  Conservatory,  in 
1860  was  made  conductor  of  the  Saxon 
Royal  Opera,  and  in  1876  General 
Music  Director.  Like  his  brother 
EDUARD,  he  was  the  intimate  friend 
of  Mendelssohn,  whom  he  succeeded  as 
director  of  the  Lower  Rhine  Festival. 
His  "  Dithyrambe  "  and  "Aldeutscher 
Schlachtgesang "  for  male  voices  and 
orchestra  are  still  occasionally  sung. 
B.  Deo.  28,  1812,  Berlin;  d.  Oct.  1, 
1877,  Dresden. 

Bivarde  (Serge  Achille)  played 
violin,  and  from  1899  taught.  Royal 
College  of  Music,  London.  Pupil  of 
Felix  Simon  and  Wieniawski,  then  of 
the  Paris  Conservatoire,  where  he  di- 
vided the  violin  prize  with  Ondrichek, 
1879.  He  toured  for  -a,  time,  spent 
three  years  in  America,  then  joined 
the  Lamoureux  orchestra  in  Paris, 
where  he  was  concertmeister  for  five 
years.  B.  Oct.  31,  1865,  New  York; 
add.  London. 

Bive-King  (Julie)  became  the  most 
noted  American  pianist  of  her  time, 
making  successful  tours  of  Europe  as 
well  as  of  her  own  country;  composed 
for  piano  and  taught.  B.  Oct.  31,  1857, 
Cincinnati,  0. 

Biverso.     It.    ROVESCIO. 

Bivolgim.ez).to,  Bivoltato,  Bl- 
volto.  It.  Inversion  or  transposition 
in  double  COUNTERPOINT. 

Bizzlo  or  Bicci  (David)  is  said  to 
have  composed  several  Scotch  tunes 
which  are  still  sung;  played  lute; 
sang  bass.  Son  of  a  musician  *and 
dancing  master  of  Turin,  he  won  an 
appointment  at  the  court  of  Savoy, 
arrived  in  Scotland,  1561,  in  the  ser- 
vice of  an  ambassador;  became  singer 
to  Queen  Mary  at  about  $500  per  an- 
nmn,  organized  her  masques  and  en- 
tertainments, became  her  secretary  of 
state  for  foreign  affairs,  but  was  assas- 
sinated by  jealous  nobles  in  Holyrood 
Palace,  March  9,  1566. 

Boast  Beef  of  Old  England,  sung 


KOBEBT    BBITCE 


552 


BOBEBT  IiE  SIABLE 


at  public  banquets,  was  probably  com- 
posed by  Kichard  Leveridge.  The 
words  are  supposed  to  have  been  writ- 
ten by  Henry  Fielding,  and  occur  in 
his  ballad  opera  "  Don  Quixote,"  1733, 
although  the  authorship  of  both  words 
and  music  has  been  claimed  for 
Leveridge. 

Bobert  Bruce  was  the  name  of  a 
pasticcio  adapted  from  Rossini's  "  Zel- 
mira,"  "  Bianea  e  Faliero,"  "  Donna 
del  Lago  "  and  "  Torvaldo  e  Dorliska  " 
by  Niedermeyer,  produced  without 
success  Dee.  30,  1846,  at  the  Paris 
Acad€mie  Eoyale. 

Bobert  le  Diable.  Giacomo  Meyer- 
beer's five-act  opera  to  book  by  Scribe 
was  first  performed  Nov.  21,  1831,  at 
the  Paris  Academic  Royale.  Robert, 
Duke  of  Normandy,  enters  the  tent  of 
the  Sicilian  knights  at  Palermo  and 
hears  Raimbaut,  a  Norman  minstrel, 
sing  the  ballad  which  describes  the 
love  afifair  of  his  mother,  the  Princess 
Bertha,  with  the  Devil,  of  which  Duke 
Robert  was  said  to  be  the  fruit.  En- 
raged, Robert  orders  the  minstrel 
hanged.  The  man  is  saved  by  the  in- 
tercession of  Alice,  his  betrothed,  who 
is  likewise  foster-sister  to  Robert,  and 
has  come  from  Normandy  to  bring  him 
a  message  from  his  dying  mother. 
Robert  feels  unworthy  to  read  the 
scroll  Alice  gives  him.  He  tells  of  his 
love  for  Princess  Isabelle,  how  he  tried 
to  carry  her  off  by  force,  but  was  pre- 
vented by  her  knights,  who  would  have 
killed  him  but  for  the  courage  of  his 
friend  Bertram.  At  the  suggestion  of 
Alice,  he  dictates  a  letter  declaring  his 
love  for  the  Princess,  gives  it  to  her 
to  deliver,  and  promises  that  she  shall 
marry  Rkimbaut.  Alice  encoimters 
Bertram  as  she  leaves,  and  is  fright- 
ened at  his  likeness  to  a  picture  of  the 
Devil  she  has  seen  somewhere.  Ber- 
tram induces  Robert  to  gamble,  and 
the  young  Duke  loses  all  his  posses- 
sions, and  is  jeered  at  by  his  com- 
panions. The  second  act  takes  place  in 
the  apartment  of  the  Princess  Isabelle, 
who  receives  with  joy  the  letter  from 
Robert.  She  leaves  as  Robert  and  Ber- 
tram enter.  Robert  has  challenged  the 
Prince  who  is  betrothed  to  Isabelle  to 
combat,  and  by  herald  the  Prince  an- 


nounces his  desire  that  it  shall  be  a 
duel  to  the  death.  The  royal  family 
assembles.  Robert  has  gone  to  the 
forest,  and  before  joining  him  there 
the  Prince  desires  that  Isabelle  assist 
in  arming  him.  As  she  hands  the  arms 
to  his  squire  she  secretly  prays  for  the 
success  of  Robert.  The  third  act  dis- 
closes in  a  ruined  temple,  a  cavern  and 
a  cross.  Raimbaut  enters,  seeking 
Alice,  but  Bertram  fills  his  mind  with 
doubt  about  the  girl  and  his  pockets 
with  gold.  Bertram,  who  is  actually 
a  demon,  and  the  father  of  Robert, 
rejoices  that  his  son's  doom  is  ap- 
proaching. A  chorus  of  fiends  wel- 
comes him  as  he  enters  the  cavern. 
Hearing  the  infernal  outburst  from 
the  cavern,  in  which  she  can  distin- 
guish the  name  Robert,  Alice,  who 
comes  to  meet  Raimbaut,  faints,  but 
clings  to  the  cross.  Bertram  returns 
from  the  cavern,  and  threatens  Alice 
with  the  death  of  all  she  loves  if  she 
tells  what  she  has  seen.  He  orders 
her  to  leave  as  Robert  appears,  and 
then  tells  Robert  that  her  agitation  is 
due  to  jealousy  of  Raimbaut.  As  to 
the  Prince,  Bertram  declares  that  he 
has  employed  sorcery  to  prevent  the 
duel,  and  that  by  sorcery  he  must  he 
overthrown.  Robert  enters  a  cavern 
to  seek  a  branch  of  magic  power. 
Statues  of  nuns,  called  to  life  by  Ber- 
tram, seek  to  enthrall  him,  and  the 
ballets  of  "  Intoxication,"  "  Gam- 
ing "  and  "  Love "  are  part  of  their 
seductions.  Robert  shrinks  from  the 
nuns  in  terror,  seizes  the  branch  and 
escapes.  In  act  four  Robert  reaches 
the  castle  just  as  the  Princess  Isa- 
belle, surrounded  by  her  bridesmaids, 
prepares  for  her  marriage  to  the 
prince.  Robert,  with  his  magic 
branch,  causes  the  entire  assemblage 
to  sleep,  with  the  exception  of  Isa- 
belle. She  reproaches  .him  for  not 
having  been  present  for  the  duel,  and 
implores  him  to  throw  off  the  evil  in- 
fluences which  surround  him.  He 
agrees,  breaks  the  magic  branch,  the 
people  instantly  awake,  and  Robert  is 
placed  under  arrest.  The  fifth  act 
represents  the  cloisters;  Robert  en- 
ters, dragging  Bertram  after  him. 
Bertram    promises    him    success    in 


ROBERTO    DEVERETJX        553  ROBINSON 

everything  if  he  will  but  sign  a  scroll.  Story  of  the  Incarnation,"  "  The  Pas- 
Robert  is  about  to  do  so,  when  he  sion,"  Psalm  oiii,  for  voices  and  or- 
hears  a  hymn  he  had  known  in  child-  chestra;  50  anthems,  six  services, 
hood.  Bertram,  who  knows  that  if  he  part  songs;  founded  the  University 
does  not  win  Robert's  soul  before  mid-  Madrigal  and  Glee  Club,  Oxford, 
night,  it  will  be  lost  him  forever,  re-  1884;  played  organ,  Magdalen  Col- 
doubles  his  efforts,  and  finally  owns  lege.  Ox.;  became  conductor  Oxford 
that  he  is  the  young  Duke's  father.  Choral  Society;  was  organist  St. 
Alice  enters  to  combat  the  demon's  John's  church.  Parsley,  near  Leeds, 
purpose.  Finally  Robert  reads  the  at  12.  B.  Sept.  25,  1841,  Stanning- 
scroll  sent  by  his  dying  mother,  finds  ley;  add.  Oxford, 
in  it  a  warning  against  the  demon,  Robin  Adair.  Scotch  name  of  the 
and  as  he  hesitates  the  clock  strikes  tune  EILEEN  AROON. 
twelve,  and  Bertram  vanishes  forever,  Robin  des  Bois  was  the  name  of 
while  men  and  angels  sing  a  joyful  the  Castil-Blaze  French  version  of 
chorus.  The  original  cast  consisted  "  FREISCHUTZ." 
of  Robert,  Nourrit,  ten. ;  Bertram,  Robin  Hood.  Eeginald  de  Koven's 
Levasseur,  bass;  Raimbaut,  Lafont,  highly  successful  comic  opera  was 
ten. ;  Albert,  a  knight,  bar. ;  Isabelle,  first  performed  in  Chicago,  1900,  and 
Princess  of  Sicily,  Cinti-Damoreau,  has  been  repeatedly  given  throughout 
sop.;  Alice,  Dorus,  sop.;  the  Abbess,  the  English-speaking  world.  It  deals 
Signora  Taglioni.  The  principal  musi-  with  the  familiar  story  of  the  famous 
cal  numbers  are :  Act  I,  "  Regnava  im  outlaw,  his  frolicking  in  Sherwood 
Tempo,"  Raimbaut ;  "  Vanne,  disse,  Forest  with  Friar  Tuck,  Will  Scarlet, 
al  figlio  mio,"  Alice ;  "  Sorte  arnica,"  Allan  a  Dale,  and  others  of  his  merry 
chorus  of  Sicilian  knights;  Act  II,  crew,  the  lovemakings  with  Maid 
"  Dell'  umana  grandezza,"  Isabelle ;  Marian,  the  persecutions  by  the 
"  Ah,  vieni,"  Isabelle ;  Act  III,  "  De-  Sheriff  of^  Nottingham,  and  concludes 
moni  fatale "  or  "  Valse  Infernale,"  with  the  'restoration  of  Robin  Hood 
chorus  of  fiends ;  "  Nel  lasciar  la  to  his  rightful  rank  as  Earl  of  Hunt- 
Normandia,"  Alice;  the  ballets;  Act  ington.  The  earliest  ballad  opera  of 
IV,  "Roberto,  otuche  adoro,"  Isabelle.  this  title  was  published  by  John 
Roberto  Deveretix.  F.  S.  Merca-  Watts,  London,  1730.  In  1750  a 
dante's  three-act  opera  to  book  by  "Robin  Hood"  was  sung  at  Drury 
Romani  was  first  performed  Mar.  10,  Lane,  composed  by  Dr.  Burney  to 
1833,  at  La  Scala,  Milan.  Gaetano  book  by  Moses  Mendez.  In  1784  a 
Donizetti's  three-act  opera  to  book  "Robin  Hood"  was  presented  at 
by  Camerano  was  first  performed  in  Covent  Garden,  book  by  Leonard  Mc- 
1837  at  Naples,  and  later  with  success  Nally;  music  composed,  selected  and 
in  Paris  and  London.  Both  books  were  arranged  by  William  Shield.  G.  A. 
founded  on  Corneille's  play.  Macfarren's  highly  successful  three- 
Roberts  (Henry)  published  music  act  opera,  to  book  by  John  Oxenford, 
in  London,  1737-62,  including  "Cal-  was  first  performed  Oct.  11,  1860,  at 
liope,  or  English  Harmony,"  and  Her  Majesty's  Theatre,  London. 
"  Clio  and  Euterpe."  Robinson  (Anastasia)  sang  in 
Roberts  (John)  composed  sacred  London  operas  with  success,  receiving 
music-  published  the  Welsh  tune  $5000  per  season,  and  a  benefit;  debut 
book  "  Llyfr  Tonau  " ;  founded  a  series  in  "  Creso,"  1714,  retired  on  her  secret 
of  Welsh  music  festivals,  1859;  be-  marriage  to  Earl  of  Peterborough, 
came  Calvinistic  Methodist  preacher,  1722;  pupil  of  Croft,  Sandoni  and 
and  edited  Welsh  newspaper,  under  The  Baroness.  B.  1698;  d.  1755, 
the  name  leum  Gwyllt.  B.  Dec.  22,  Mt.  Bevis,  Southampton. 
1822,  Wales;  d.  May  6,  1877.  Robinson  (John)  composed  a 
Roberts  (Dr.  J.  Varley)  composed  double  chant  in  E  fiat;  played  organ 
the  sacred  cantatas  "Jonah,"  for  Westminster  Abbey  in  succession  to 
voices  and  orchestra;    "Advent,  the  Dr.  Croft,  1727;  in  boyhood,  chorister 


KOBINSON  554  KdCEEL 

Eng.  Chapel  Royal  under  Dr.  Blow,  under  Wagner's  supervision  with  aid 

B.    1682;    d.   April    30,    1762.     Ann  of  Lindau  for  the  performance  at  the 

Turner  sang  with  success  in  opera.  Paris    Opfira,    1861;    violin   pupil    of 

Daughter    of     Dr.    William    Turner;  the    Paris    Conservatoire,    but    aban- 

she  was  known  after  her  marriage  as  doned  music  for  writing.    B.  Feb.  20, 

Mrs.    Turner-Robinson.     B.    London;  1828,  Calais;    d.  Dec.  16,  1861,  Paris, 

m.  JOHN,  Sept.  6,  1716;    d.  Jan.  5,  Koccoco,  Kococo.     /*.    Queer,  old- 

1741.  fashioned. 

Bobinson  (Joseph)  founded  the  Piochlitz  (Johann  Friedrich) 
Ancient  Concert  Society,  Dublin,  founded  the  "  Allgemeine  musikalische 
1834,  and  conducted  it  29  years;  con-  Zeitung,"  published  by  Breitkopf  & 
ducted  the  University  Choral  Society  Hartel,  of  which  he  remained  editor 
and  at  the  Irish  International  Exhi-  during  life;  aroused  Interest  in  the 
bition,  1853,  when  he  assembled  1000  works  of  Haydn,  Mozart,  and  Beetho- 
performers,  the  greatest  number  ven  in  Northern  Germany  by  his  writ- 
heard  at  an  Irish  concert  up  to  that  ings,  some  of  which  were  reprinted  as 
time ;  helped  establish  the  ROYAL  "  Ffir  Freunde  der  Tonkiinst " ;  wrote 
IRISH  ACADEMY;  founded  the  libretti;  composed;  pupil  of  the 
Dublin  Musical  Society,  1876,  which  Thomasschule.  B.  Feb.  20,  1769, 
he  conducted  12  years;  composed  Leipsic;  d.  Dec.  16,  1842. 
songs  and  anthems,  arranged  Irish  Bock  (Michael)  composed  glees; 
melodies;  pupil  of  his  father,  Francis  played  organ,  St.  Margaret's,  West- 
Robinson,  founder  of  the  Sons  of  minster,  in  succession  to  William 
Handel;  in  boyhood,  chorister  at  St.  Rock,  Jr,  D.  Mar.,  1809. 
Patrick's.,  B.  Aug.  20,  1815;  d.  Aug.  Boekel (Joseph August)  gave  Ger- 
23,  1898.  Fanny  Arthur  composed  man  opera  with  a  German  company  in 
the  sacred  cantata  "  God  is  Love  " ;  Paris,  1828-32,  and  for  the  next  three 
played  piano;  taught  Royal  Irish  years  in  London.  At  first  in  the 
Academy;  pupil  of  Sterndale  Bennett  diplomatic  service,  he  made  his  musi- 
and  Thalberg.  B.  Sept.  1831;  m.  cal  debut  in  Florestan  during  the  re- 
JOSEPH,  July  17,  1849;  d.  Oct.  31,  vival  of  "  Fidelio "  at  the  Vienna 
1879.  Theater  an  der  Wien,  1806.    B.  Upper 

Bobinson   (Thomas)   wrote   "The  Palatinate,   Aug.   28,   1783;   d.   1870, 

Schoole  of  Musicke ;  wherein  is  taught  Anhalt-Cothen.     August   was   music 

the  perfect  method  of  the  true  finger-  director    at    Bamberg,    Weimar,    and 

ing  of  the  Lute,  Pandora,  Orpharion,  with  Richard  Wagner,  whose  lifelong 

and  Viol  da  Gamba,"  London,  1603;  friend    he    became,    at    the    Dresden 

and  "  New  Citharen  Lessons,"  London,  Opera.     Involved  like  Wagner  in  the 

1609.  Revolution  of  1848,  he  was  impxisoned 

Bobusto.  /*.  Robust,  powerful,  for  13  years,  and  on  his  release,  de- 
strong;  Tenore,  tenor  of  powerful  voted  himself  to  politics.  B.  Graz, 
quality.  Dec.    1,   1814,  son  of  JOSEPH  AU- 

Eobyn  (William  E.)  played  organ  GUST;    d.  June  18,   1876,  Budapest. 

St.  John's  Church,  St.  Louis,  Mo.,  and  Edward  composed  for  piano;    settled 

is  said  to  have  founded  the  first  sym-  in  Bath  after  1848,  having  established 

phony  orchestra  west  of  Pittsburgh,  a  fair  reputation  as  a  virtuoso  pia- 

Alfred  Or.  composed  the  comic  opera  nist;  pupil  of  his  uncle,  J.N.  Hiunmel. 

"Jacinta,"  "Answer"  and  other  pop-  B.   Nov.   20,    1816,    son    of   JOSEPH 

ular  songs,  a  piano  concerto,  etc. ;   be-  AUGUST;    d.    Nov.    2,    1899,    Bath, 

came  solo  pianist  of  the  Emma  Abbott  Eng.     Joseph  Leopold  composed  the 

Company  at  16;   succeeded  his  father,  cantatas,    "Fair    Rosamond,"     "Sea 

WILLIAM  R.,  as  organist  St.  John's  Maidens,"  "  Ruth,"  "  Westward  Ho," 

Church.    B.  April  29,  1860,  St.  Louis;  "  Mary  Stuart,"  "  The  Victorian  Age," 

add.  St.  Louis.  "  Siddartha,"  many  songs  and  orches- 

Boche    (Edmond)    translated    the  tral  works.     Pupil  of  Bisenhofef  in 

book   of  "Tannhauser"   into   French  theory,  and  of  Gotze  in  composition. 


KOCESTBO 


555 


BOGEBS 


he  settled  in  Clifton,  Eng.,  and  in 
1902  was  represented  by  a  song  cycle 
at  the  Bristol  Festival.  B.  April  11, 
1838,  London;    add.  Clifton. 

Bockstro  (William  Smyth)  wrote 
a  "History  of  Music  for  Young  Stu- 
dents," 1879;  "A  General  History  of 
Music,"  1886;  a  "Life  of  Handel," 
1883;  "Life  of  Mendelssohn,"  1884; 
"  Jenny  Lind-Goldschmidt,  her  Vocal 
Art  and  Culture,"  partly  reprinted 
from  an  earlier  biography ;  text-books 
on  harmony  and  counterpoint;  lec- 
/tured  and  taught  at  the  ROYAL 
ACADEMY  and  ROYAL  COLLEGE 
OF  MUSIC;  composed  songs,  glees; 
played  organ;  pupil  of  John  Purkis, 
Stemdale  Bennett,  and  the  Leipsic 
Conservatory.  B.  Jan.  5,  1823,  North 
Cheam,  Surrey,  Eng.;  name  origi- 
nally Rackstraw;  d.  July  2,  1895, 
London. 

Bode  (Jacques  Pierre  Joseph) 
composed  24  caprices  or  etudes  still 
invaluable  to  students  of  the  violin, 
10  concertos,  of  which  the  Seventh, 
A  minor,  is  still  played;  variations 
in  G  major  which  Catalan!  and  other 
singers  have  utilized  with  great  effect; 
and  much  other  music  now  wholly 
forgotten;  collaborated  with  Kreut- 
zer  and  Baillot  in  a  famous  Violin 
Method.  Pupil  first  of  Fauvel,  then 
of  Viotti;  he  played  in  public  with 
such  success  at  16  as  to  win  a  place 
in  the  Theatre  Feydeau,  and  in  1794 
made  his  first  tour  as  virtuoso.  On 
the  foundation  of  the  Paris  Conser- 
vatoire, he  became  professor  of  violin, 
toured  Spain;  became  solo- violinist 
to  the  First  Consul,  1800s  in  1803 
to  the  Russian  Emperor  at  $4000  per 
annum;  then  resumed  his  concert 
tours.  In  1813  his  playing  pleased 
neither  Spohr  nor  Beethoven,  although 
the  latter  had  completed  his  Sonata 
in  G,  Op.  96,  that  Rode  might  play 
it  before  the  Archduke  Rudolph. 
Shortly  afterwards  Rode  retired,  but 
in  1825  attempted  to  renew  his  con- 
cert tours,  meeting  with  complete 
failure.  B.  Feb.  16,  1774,  Bordeaux; 
d.  Nov.  25,  1830,  Bordeaux.   , 

Boder  (Martin)  composed  two  sym- 
phonic poems,  a  symphony,  three 
operas;    wrote  essays  and  criticisms 


under  the  pen  name  "  Raro  Miedt- 
ner";  conducted  and  taught  in  Dub- 
lin and  Boston;  pupil  of  the  Berlin 
Hochschule.  B.  April  7,  1851,  Berlin; 
d.  June  7,  1895,  Boston. 

Eodwell  (Gteorge  Herbert  Bona- 
parte) composed  two  collections  of 
songs,  music  for  many  operettas  and 
farces ;  conducted  at  Adelphi  Theatre, 
of  which  his  brother  was  manager  and 
part  owner,  later  at  Covent  Garden; 
taught  theory.  Royal  Academy  of 
Music;  pupil  of  Vincent  Novello  and 
Henry  Bishop.  B.  Nov.  15,  1800;  d. 
Jan.   22,   18S2,   London. 

Bogel  (Jose)  composed  61  "zar- 
zuelas  "  or  dramatic  pieces,  including 
"  Revista  de  un  muerto  "  and  "  Gten- 
eral  Bumbum  " ;  conducted  at  Madrid 
theatres;  pupil  of  Pascual  Perez.  B. 
Dec.  24,  1829,  Orihuela,  Alicante, 
Spain;    add.  Madrid. 

Boger  (i^tienne)  published  Corel- 
li's  sonatas,  and  engraved  music;  Am- 
sterdam,   1696-1722. 

Boger  (Gustave  Hippolite)  cre- 
ated the  name  part  in  "Le  Proph6te"; 
debut,  1838,  at  Paris  Op€ra  Comique, 
and  continued  to  be  popular  ten.  until 
1868,  when  he  joined  staff  of  Paris 
Conservatoire,  where  he  had  been  a 
prize  pupil;  wrote  "Le  Carnet  d'un 
tenor,"  etc.  B.  Paris,  Dec.  17,  1815; 
d.  Sept.  12,  1879,  Paris. 

Bogers  (Dr.  Benjamin)  composed 
the  "  Hymnus  Eucharistus,"  sung  as 
grace  in  Magdalen  College  Hall,  Ox- 
ford, after  dinner;  glees,  anthems, 
services;  played  organ  Eton  and  Mag- 
dalen College.  B.  1614,  Windsor;  son 
of  a  lay  clerk  in  St.  George's  Cluipelj 
d.  June  21,  1698,  Oxford. 

Bogers  (James)  composed  songs; 
played  organ;  pupil  of  LiJschorn, 
Haupt,  Ehrlich,  and  Rohde,  Berlin; 
Firsot,  Guilmant,  and  Widor,  Paris. 
B.  1857,  Fairhaven,  Conn.;  add.  Cleve- 
land, Ohio. 

Bogers  (John)  played  lute  to 
Charles  II  of  Eng.,  1661-63. 

Bogers  (Sir  John  Leman,  Bart.) 
composed  cathedral  service,  anthems, 
glees,  madrigals;  was  president,  Lon- 
don Madrigal  Society,  1820-41.  B. 
April  18,  1780;  succeeded  his  father 
to  title,  1797;    d.  Dec.  10,  1847. 


KOOEBS                        556  BOLLE 

Bogers    (Dr.    Boland)    composed  opfira    comique    was    first    performed 

"The  Garden,"   prize   cantata,   Llan-  May   24,    1873,   at   the   Paris    Opfira 

dudno,  1896;  symphony  in  A,  Evening  Comique. 

Services  in  B  flat  and  D,  songs,  an-  Eoi  malgrS  Lui.     Emmanuel  Cha- 

thems,  a  De  Profundis,  the   cantata  brier's    three-act    opSra    comique,    to 

"  Prayer  and  Praise " ;    played  organ,  book    by    E.    de    Narjac    and .  Paul 

Bangor  Cathedral,  1871-91;    pupil  of  Burani,  was  first  performed  May  18, 

S.  Grosvenor.    B.  Nov.  17,  1847,  Staf-  1887,  at  the  Paris  Opfira  Comique. 

fordshire;    add.  London.  Bokatinsky,  Freiherr  von  (Hans) 

Bohde  (Eduard)  composed;    wrote  sang  bass  in  opera  with  distinction; 

piano   method;     taught    singing.      B.  debut  at  Prague,  1862,  in  "La  Juive"; 

1828,  Halle;    d.  Mar.  25,  1883,  Berlin,  became    prof.    Vienna    Conservatory, 

Bohrflote.      Ger.      "Reed    flute";  1894.    B.  Vienna,  Mar.  8,  1835;    add. 

organ  stop.  Vienna.     Victor  taught  singing,  Vi- 

Bohrwerk.      Ger.      "  Eeed   work "  enna     Conservatory.;     wrote     "  Uber 

of  an  organ,  aa  opposed  to  the  flute  Sanger  und  Singen,"  1894.    B.  Vienna, 

work.  July   9,    1836;    brother   of   FREI- 

Boi  de  Lahore.    Jules  E.  F.  Masse-^  HERE   HANS;    d.    July    17,    1896, 

net's  five-act  opera,  to  book  by  Louis  Vienna. 

Gallet,  was  first  performed  April  27,  B51e.     Fr.    That  portion  of  a  dra- 

1877,    at    the    Paris    Opfira.      Nair,  matic  work  assigned  to  a  single  singer 

priestess  of  Indra,  and  sworn  to  celi-  or  actor. 

bacy,  accepts  the  love  of  King  Alim,  Bolfe  &  Co.  made  pianos  in  Lon- 

while  rejecting  that  of  Scindia,   the  don,  1796-1890. 

prime  minister,  who  avenges  himself  Boll.      Trill  on  percussion   instru- 

by  informing  the  High  Priest  Timour.  ments,  produced  on  the  kettledrum  by 

Detected  in  entering  the  temple,  the  rapid  taps' with  both  sticks;    on  the 

King  is  forced  to  agree  that  he  will  tambourine  with  the  knuckles;    swift 

make    war    against   the   Moslems    to  organ  arpeggio. 

atone  for  his  sin,  and  is  then  betrayed  Bolla(Alessandro)was  the  teacher 

by  Scindia  and  falls  in  battle.    Trans-  of  Paganini ;    composed  for  violin  and 

ported  to  the  Gardens  of  the  Blessed,  played  and  conducted  at  La   Scala; 

the   gods    permit   him   to   return   to  prof.   Milan   Conservatory;     pupil  of 

earth  that  he  may  find  Nair,  on  con-  Eenzi  and  Conti.     B.  April  22,  1757, 

dition  that  he  will  not  resume  his  regal  Pa  via;    d.  Sept.  15,  1841,  Milan, 

position,  and  that  his  life  shall  end  Bollando.  It.    Rolling, 

with    that    of    Nair.      Scindia    has  Boll  Call.     The  long  roll  employed 

usurped    the    throne,    and    compelled  as   a  military   signal  for  assembling 

Nair  to  become  his  wife.     Nair  rec-  troops  or  sending  them  into  action, 

ognizes  her  beloved,  and  tries  to  es-  Bolle.     Ger.     Rapid  up  and  down 

cape  with  him,  but  they  are  pursued  passages  quickly  repeated, 

by  Scindia,  and  rather  than  become  Bolle   (Christian   Friedrich)  was 

his  prey,  Nair  kills  herself.    Alim  dies  the  cantor  of  Madgeburg  from  1721, 

at  the  same  moment,  and  the  lovers  where,  he  d.,  1751.     Friedrich  Hein- 

are  welcomed  to  Paradise  by  Indra.  rich  wrote  biography  of   hia   father. 

The  ballet  music  is  especially  lovely,  CHRISTIAN    FRIEDRICH.      Chris- 

and  it  may  give  joy  to  lovers  of  the  tian     Carl     succeeded     his     father, 

waltz  to  know  that  it  may  be  heard  CHRISTIAN  FRIEDRICH  as  cantor. 

in  the  Hindu  Heaven.  Johann      Heinrich      composed      20 

Boi  des  Violons  was  the  head  of  four-part  motets,  services  for  the  en- 

the  CONFRERIE  DE  ST.  JULIEN,  tire    church   year,    five    passions,    21 

Boi  D'ys.    Edpuard  Lalo's  three-act  oratorios  or  religious  music  dramas ; 

opera  to  book  by  Edouard  Blau  was  played  viola  in  the  chapel  and  quartet 

first  performed  May  7,   1888,  at  the  of  Frederick  the  Great,  then  became 

Paris  Opgra  Comique.  organist    and    cantor   at   Madgeburg. 

Boil'adit.    Leon  Delibes's  three-act  B.   D4c.   23,   1718,   Quedlinburg;    son 


ROLLI 


557 


Koui: 


of  CHRISTIAN  FRIEDRICH;  d.  Dec. 
29,  1785,  Madgeburg. 

KoUi  (Paolo  Antonio)  wrote  li- 
bretti for  operas  in  London,  1718-44, 
then  returned  to  his  birthplace, 
Florence. 

Komance.  Love  song  or  composi- 
tion of  romantic  character,  such 
as  Mendelssohn's  "  Songs  Without 
Words " ;  vague  term  having  same 
significance   In  music  as   in  poetry. 

Somanesca.  It.  Italian  dance  or 
GALLIARD. 

Romanesque.     It.    GALLIARD. 

Romani  (Felice)  wrote  100  books 
for  the  operas  of  Mayr,  Bellini,  Ros- 
sini, Donizetti,  etc.;  was  poet  to  the 
royal  Italian  theatres.  B.  Jan.  31, 1788, 
Genoa ;    d.  Jan.  28,  1865,  Moneglia. 

Romano  (Alessandro  della  Vi- 
ola) composed  madrigals,  motets,  five- 
part  Canzoni  Kapolltane,  published 
Rome,  1554,  and  Venice,  1579;  called 
della  Viola  because  of  his  favourite 
instrument.     B.  Rome  about   1530. 

Romantic.  A  term,  like  Classic, 
borrowed  from  literature,  and  used 
as  its  antithesis.  It  seems  to  have 
been  adopted  generally  about  the  time 
of  von  Weber's  supremacy,  and  has 
been  applied  successively  to  all  who 
introduced  new  or  freer  methods  in 
the  treatment  of  FORM.  Thus  Bee- 
thoven and  Schubert  are  alleged  to 
have  been  romanticists,  although  they 
are  undeniably  Classic,  as  well  as  Ber- 
lioz and  the  recent  schools  of  French 
and  German  and  Italian  composers, 
and  Schvmiann  considered  himself  the 
apostle  of  the  Romanticists. 

Romantique.     Fr.     ROMANTIC. 

Romanzesco.     /*.     ROMANTIC. 

Romera.    Turkish  dance. 

Romberg  was  the  name  of  a  family 
of  German  musicians  founded  by  two 
brothers,  Anton  and  Heinrich,  who 
lived  in  Bonn  and  Berlin,  and  appear 
to  have  survived  until  1792.  Anton 
played  bassoon;  gave  concerts  in  Ham- 
burg. B.  Mar.  6,  1742,  Westphalia; 
d.  Dec.  14,  1814.  Anton  played 
bassoon;  son  and  pupil  of  the  second 
ANTON.  B.  1777.  Bemhard  founded 
the  modem  school  of  'cello  playing 
and  greatly  increased  the  capability 
of  that  instrument  by  careful  study 


of  its  technique  J  composed  concerto 
for  two  'cellos,  many  works  for  'cello 
solo,  chamber  music,  a  Military  Con- 
certo, "  Die  wiedergefundene  Statue," 
and  other  operas;  funeral  symphony 
for  Queen  Louise  of  Prussia.  'Cellist 
in  the  Electoral  Band  at  Cologne  in 
the  time  of  the  Beethovens,  Romberg 
toured  as  virtuoso  during  the  French 
invasion;  was  instructor  at  the  Paris 
Conservatoire,  1801-3}  member  of  the 
Berlin  royal  orchestra;  court  chapel- 
master  at  Berlin,  1815-19;  then  set- 
tled in  Hamburg,  but  made  frequent 
concert  tours.  B.  Nov.  12,  1767,  Din- 
klage,  Oldenburg;  son  of  the  second 
ANTON;  d.  Aug.  13,  1841,  Hamburg. 
Gerhard  Heinricta.  played  clarinet 
and  became  music  director  at  Miin- 
ster.  B.  Aug.  8,  1745 ;  brother  of  the 
second  ANTON.  Ajidreas  Jakob 
played  violin,  debut  at  seven,  joined 
Electoral  Band  at  Cologne,  then  Paris 
Concerts-Spirituel ;  toured  as  virtu- 
osoh  composed  the  opera  "  Don  Men- 
doce,"  Paris,  1800,  in  collaboration 
with  his  cousin  BERNHARD;  became 
chapelmaster  at  Gotha;  composed  six 
symphonies,  chamber  music,  a  "  Toy 
symphony,"  "  Die  Macht  der  Musik," 
and  other  operas,  "  The  Harmony  of 
the  Spheres,"  etc.;  church  music.  B. 
April  27,  1767,  Vechta,  near  Munster; 
son  of  GERHARD  HEINRICH;  d. 
Nov.  10,  1821,  Gotha.  Cyprian  com- 
posed for  and  played  'cello;  pupil  of 
his  uncle;  member  St.  Petersburg 
court  orchestra.  B.  Oct.  28,  1807, 
Hamburg;  son  of  ANDREAS  JAKOB; 
d.  Oct.  14,  1865,  Hamburg.  Therese 
played  piano.  B.  1781;  sister  of 
ANDREAS  JAKOB. 

Rome  is  the  seat  of  the  SISTINE 

CHOIR,   at  once  the  most  venerable 

and  celebrated  of  the  world's  church 

choirs   and   music    schools,    possessor 

of  a  municipal  orchestra  directed  by 

Alessandro     Vesaella,     which      gave 

weekly   concerts    during    the   greater 

I  part   of  the   year   at   the   Argentina 

•  Theatre,     the     Costanzi     and     other 

theatres   devoted  to  lyric  art,  many 

ii  splendid  church  choirs,  of  which  that 

at  the  Cathedral  of  St.  John  Lateran, 

presided  over  by  Filipo  CAPOCCI  is 

justly    famous,    and    of   the    Royal 


BOKE 


558 


KOMEO 


Academy  of  Sta.  Caecilia,  formerly 
a  papal  institution,  which  in  1908  in- 
cluded an  endowed  Liceo  or  school  of 
music  with  tuition  as  low  as  a  dollar 
a  month,  directed  by  Commandatore 
Stanislao  Falchi,  having  a  faculty  of 
40  professors,  including  SGAMBATI 
and  Penelli,  and  nearly  250  students. 
The  school  received  an  allowance 
of  about  $16,000  per  annum  from 
the  government.  The  history  and 
aesthetics  of  music,  general  Italian  lit- 
erature, as  well  as  the  theory  and 
practice  of  music,  were  taught  in  all 
branches,  and  in  its  first  25  years  the 
Liceo  provided  instruction  for  1387 
pupils,  of  whom  415  received  diplo- 
mas. The  Congregazione  dei  Musici 
di  Boma  sotto  I'invocazione  di  Sta. 
Caecilia  was  founded  by  Pope  Pius  V, 
1584,  its  charter  confirmed  by  Greg- 
ory XIII,  and  it  has  included  in  its 
membership  practically  all  the  great 
musicians  of  Italy  from  the  age  of 
Palestrina,  and  many  of  the  most 'dis- 
tinguished of  foreign  composers  down 
to  the  days  of  Liszt  and  Gounod. 
Originally  the  congregation  was  pre- 
sided over  by  a  cardinal,  who  was 
assisted  by  a  council  and  professors 
of  all  branches  of  music.  In  1689,  by 
papal  decree,  the  congregation  was 
empowered  to  license  all  professional 
musicians.  The  title  of  Academy  or 
"ACCADEMIA"  was  first  conferred 
by  Gregory  XVI,  1839,  and  in  1841 
the  institution  gave  the  first  perform- 
ance in  Italy  of  Rossini's  Stabat 
Mater.  Several  attempts  at  estab- 
lishing a  music  school  in  connection 
with  the  Academy  failed  until  1869, 
when  Sgambati  and  Penelli  actually 
began  free  lessons  for  the  piano  and 
violin  in  the  Academy's  building,  the 
success  of  which  resulted  in  a  decree 
the  following  year  in  which  the  Liceo 
was  formally  recognized.  With  the 
destruction  of  the  temporal  power  of 
the  Pope,  the  Academy  became  a  royal 
institution.  In  1875  a  provisional 
committee  of  the  Academy  gave  way 
in  the  management  of  the  Liceo  to  a 
council  of  direction  headed  by  Com- 
mandatore Emilio  Broglio,  and  besides 
Sgambati  and  Penelli,  Alessandro  Or- 
sini,  Ferdinando  Forino,  and  Vedasto 


Vecchietti  were  added  to  the  faculty. 
In  1886  Commandatore  Fillippo 
Marchetti  became  director  of  the 
Liceo  under  a  new  constitution  which 
permitted  the  acceptance  of  a  gov- 
ernmental subsidy.  The  Academy  was 
presided  over  in  1908  by  Coimt  di 
San  Martino,  and  enjoyed  the  patron- 
age of  the  royal  family,  the  King 
being  honorary  president.  To  trace 
the  history  of  the  schools  founded  in 
Rome  by  GUIDO,  GAUDIO  MBLL, 
PALESTRINA  and  NANINI,  NA- 
TALE,  etc.,  ^ould  be  to  write  the  his- 
tory of  Italian  music.  The  influence 
of  Rome  in  musical  matters  has  al- 
ways been  far  reaching,  and  the  pres- 
ent Supreme  Pontiff,  PIUS  X,  will 
doubtless  be  regarded  by  posterity  as 
one  of  the  most  important  of  musical 
reformers. 

Borne,  Prix  de.  A  stipend  permit- 
ting residence  and  study  in  Rome  is 
the  grand  prize  offered  annually  to 
students  of  the  Paris  Conservatoire, 
and  every  second  year  to  students  of 
the  Brussels  Conservatory. 

Borneo  et  Juliet;te.  Charles  F. 
Gounod's  opera  in  five  acts  to  book 
by  Barbiere  and  Carrg  was  first  per- 
formed at  the  Paris  Theatre  Lyrique, 
April  27,  1867.  The  characters  are 
identical  with  those  in  Shakespeare's 
play,  with  the  addition  of  Stephano 
(mez.  sop.),  page  to  Romeo,  and 
Gregorio,  a  watchman.  There  is  no 
need  of  repeating  the  story  of  the 
opera,  as  it  closely  follows  the  con- 
struction of  Shakespeare's  play.  The 
principal  musical  numbers  are:  Act 
I,  the  waltz  in  Capulet's  house,  Juli- 
ette; "Mab  Regina,"  Mercutio;  "  Di 
grazia,"  Romeo  and  Juliette;  Act  II, 
the  balcony  scene,  Romeo  and  Juli- 
ette; "  Al  vostro  amor  cocente,"  Friar 
Lawrence;  trio,  quartet  and  "Ah! 
col  nibbio,"  the  page;  Act  III,  "  Tu 
dei  partir,"  Romeo  and  Juliette; 
"  Non  temero  mio  ben,"  Juliette, 
Nurse,  Friar  Laurent,  and  Capulet; 
Act  IV,  "Bevi  allor  questo  filtro," 
Friar  Laurent;  Act  V,  orchestral 
prelude  to  the  scene  at  the  tomb. 
Other  operas  to  this  title  are:  a  three- 
act  opera  by  Steibelt,  to  book  by  de 
Segur,  La  Scala,  Milan,  Jan.  30,  1796; 


BOUES 


559 


BOKTGEI]- 


three-act  opera  by  Vaecaj,  to  book  by 
Romani,  Oct.  31,  1825,  Teatro  della 
Canobbia,  Milan.  Other  operas  to  the 
same  theme:  "I  Capuletti  ed  i  Mon- 
tecchi,"  Bellini's  three-act  opera,  to 
book  by  Romani,  Venice,  Mar.  11, 
1830;  "Les  Amants  de  Verone,"  five- 
act  opera,  to  his  own  book,  by  Mar- 
qjiis  d'lvry,  Oct.  12,  1878.  Tschaikow- 
sky|s  symphonic  poem  "Romeo  and 
Juliette  "  was  first  performed  Mar.  4, 
1870,  at  the  Musical  Society,  Moscow. 
Berlioz's  fifth  symphony,  dedicated  to 
Paganini,  was  first  performed  Nov. 
24,  1839,  at  the  Paris  Conservatoire. 
It  is  entitled  "Romeo  et  Juliette,  sym- 
phonie  dramatique  avee  choeurs,  solos 
de  chant,  et  prologue  en  recitatif 
choral.  Op.  17." 

Bomer  (Emma)  sang  sop.  in  opera 
at  Covent  Garden  and  Drury  Lane; 
created  name  parts  in  Barnett's 
"  Mountain  Sylph  "  and  "  Pair  Rosa- 
mond " ;  pupil  of  Sir  George  Smart. 
B.  1814;    d.  April  14,  1868. 

Bomisch.er-6esaiig.  Ger.  GRE- 
GORIAN CHANT. 

Boncbetti-lffioiLteviti  (Stefano) 
taught  composition  Milan  Conserva- 
tory; composed  an  opera,  motet;  di- 
rected; pupil  of  B.  Neri.  B.  1814, 
Asti;    d.   1882,  Casale  Monferrato.   , 

Bonconi  (Domenico)  sang,  taught 
vocal,  directed  Vienna  Italian  opera, 
1810;  settled  in  Munich,  1819-29; 
debut  La  Fenice,  Venice,  1797.  B. 
July  11,  1772,  Venetia;  d.  April  13, 
1836,  St.  Petersburg.  Felice  wrote  a 
vocal  method,  composed  songs,  taught 
vocal,  Wtirzburg,  Frankfort,  Milan, 
London;  pupil  of  his  father,  DO- 
MENICO. B.  Venice,  1811;  d.  Sept. 
10,  1875,  St.  Petersburg.  Giorgio 
sang  bar.  in  opera,  especially  notable 
as  Rigoletto;  taught  Madrid  Con- 
servatory; founded  singing  school, 
Granada;  was  an  especial  favourite 
at  Covent  Garden,  and  toured  Amer- 
ica, 1866-74;  debut  at  Pavia,  1831; 
son  and  pupil  of  DOMENICO.  B. 
Aug.  6,  1810,  Milan;  d.  Jan.  8,  1890, 
Madrid.  Sebastiano  sang  bar.  rbles 
in  opera  35  years  from  debut  at  Lucca, 
1836,  then  taught  vocal  at  Milan; 
son  and  pupil  of  DOMENICO.  B. 
Venice,  1814. 


Bonde.  Fr.  "Round,"  name  of 
the  SEMIBREVE  in  NOTATION. 

Bondeau.    Fr.    RONDO. 

Bondiletta,  Bondino,  Boletto.  It. 
Short  RONDO. 

Bondo  is  a  FORM  differing  from 
other  movements  of  the  sonata  or 
symphony  in  not  having  the  first 
part  marked  for  repeat,  while  the  prin- 
cipal subject  does  not  modulate,  re- 
appears at  the  close  of  the  first  period 
in  its  keychord,  and  also  after  the 
modulation  of  the  second  subject. 
Subject  to  many  variations,  the  ar- 
rangement of  the  movement  usually 
offers  a  first  subject  which  remains 
in  the  original  key  and  sometimes 
enters  without  introduction  followed 
by  an  episode  modulated  into  the  rela- 
tive major  or  minor  key;  then  a  sec- 
ond subject  in  the  dominant  or  rela- 
tive major,  with  a  modulation  return- 
ing to  the  first  subject  in  the  original 
key,  with  which  the.  first  part  closes. 
The  second  half  begins  with  the  sec- 
ond subject  modulated  into  remote 
keys  followed  by  the  first  subject; 
next,  an  episbde  preparing  for  the  en- 
trance of  the  second  subject,  followed 
by  a  final  episode  and  coda,  returning 
to  the  original  key.  The  rondo  prob- 
ably originated  in  a  dance  having 
couplets  or  solos,  alternating  with 
rondeaux  or  chorus,  and  was  a  favour- 
ite form  with  early  composers. 

Bbutgen  (Engelbert)  played  violin 
in  the  Gewandhaus  orchestra,  where 
he  succeeded  his  master,  David,  as 
concertmeister ;  edited  the  Beethoven 
Quartets;  pupil  of  the  Leipsic  Con- 
servatory. B.  Deventer,  Holland, 
Sept.  30,  1829;  d.  Dec.  12,  1897. 
Julius  was  director  of  the  Felix  Mer- 
itis  Society  of  Amsterdam  during  the 
last  two  years  of  its  life;  taught  in 
the  Amsterdam  Conservatory,  and  in 
1886  succeeded  Verhulst  as  director 
of  the  Maatschappij  tot  Bevordering 
der  Tonkunst.  From  1898  he  de- 
voted himself  wholly  to  teaching  and 
composing,  his  published  works  num- 
bering 18.  Pupil  of  his  father,  EN- 
GELBERT,  and  of  his  mother,  daugh- 
ter of  Moritz  Klengel,  another  Ge- 
wandhaus concertmeister,  he  studied 
later     with      Hauptmann,      Richter, 


HOOEE 


560 


HOSAIilS 


Plaidy,  and  Eeinecke,  and  theory  and 
composition  with  Lachner.  B.  May  9, 
1855,  Leipsic;  add.  Anasterdam.  His 
son  JULIUS  is  a  member  of  the 
KNEISEL  QUARTETTE. 

Booke  (William  Hichael)  com- 
posed the  opera  "  Amilie,"  Covent 
Garden,  1837,  "Cagliostro"  and 
"  The  Valkyrie,"  which  were  not  pro- 
duced; conducted;  taught  singing, 
numbering  Balfe  among  his  pupils; 
was  pupil  of  Dr.  Cogan,  Dublin.  B. 
Sept.  29,  1794,  Dublin;  d.  Oct.  14, 
1847,  London. 

Boot.  The  note,  whether  expressed 
or  implied,  on  which  a  CHORD  is 
built;  a  note  which  gives  overtones 
or  harmonics  in  addition  to  its  own 
tone;  the  Tonic  or  Dominant  or  .Sub- 
dominant,  from  which  certain  writers 
on  HARMONY  derive  all  chords; 
the  fundamental  note,  generator,  or 
ground-note. 

Boot  (George  Frederick)  composed 
the  songs  "  Tramp,  Tramp,  Tramp,  the 
Boys  are  Marching  "  ( also  known  as 
"God  Save  Ireland"),  "Just  Before 
the  Battle,  Mother,"  "  The  Battle  Cry 
of  Freedom,"  all  popular  with  the 
Federal  soldiers  during  the  American 
Civil  War ;  the  cantatas  "  The  Flower 
Queen  "  and  "  Daniel " ;  was  asso- 
ciated with  Lowell  Mason  in  educa- 
tional work;  jpublished  music  in  Chi- 
cago, where  he  received  doctor's  de- 
gree from  Chicago  University;  pupil 
of  Webb  of  Boston,  and  also  studied 
in  Paris.  B.  Aug.  30,  1820,  Sheffield, 
Mass.;  d.  Aug.  6,  1895,  Barley's 
Island.  Prederick  Woodman  lec- 
tured, wrote  on  and  taught  music; 
pupil  of  his  father,  GEORGE  FRED- 
ERICK, and  of  Blodgett  and  Mason, 
New  York.  B.  June  13,  1846,  Boston; 
add.  Boston. 

Booy,  van  (Anton)  sang  Wotan 
and  other  Wagnerian  bar.  r6les  with 
great  success;  debut,  Beyreuth,  1897, 
and  subsequently  in  Berlin,  London 
and  New  York,  being  an  especial  fa- 
vourite at  the  Metropolitan  Opera 
House;  pupil  of  Stockhausen,  Frank- 
fort. B.  Jan.  12,  1870,  Rotterdam; 
add.  New  York. 

Bopartz  (J.  Guy)  composed  the 
one-act  operas  "  Le  Diable  couturier  " 


and  "Marguerite  d'Eoosse";  inciden- 
tal music  for  "  Pgcheur  d'Islande," 
1893;  "Dimanche  Breton,"  suite  in 
four  movements;  a  symphony,  Psahn 
xxxvi,  for  choir,  organ,  and  orchestra, 
songs,  etc.;  directed  the  Nancy  Con- 
servatory; pupil  of  Dubois  and  Mas- 
senet at  the  Paris  Conservatoire,  and 
later  of  Cfisar  Franck.  B.  June  15, 
1864,  Quingamp,  Cotes  du  Nord;  add. 
Nancy,  France. 

Bore,  de  (Cipriano)  composed 
church  and  secular  music;  played 
organ  at  St.  Mark's,  Venice,  in  suc- 
cession to  Willaert,  whose  pupil  he 
had  been;  musician  to  the  courts  of 
Ferrara  and  Parma.  B.  about  1516, 
Mechlin  or  Antwerp;    d.  1565,  Parma. 

Bosa  (Carl  August  Nicholas)  or- 
ganized and  managed  the  Carl  Rosa 
opera  company,  headed  by  his  wife, 
Mme.  PAREPA-Rosa,  London,  and 
thereafter,  until  his  death,  gave  nota- 
ble performances  at  the  Princess,  the 
Lyceum,'  Her  Majesty's,  and  the 
Prince  of  Wales  theatres,  London,  in- 
troducing many  works  new  to  the 
British  public,  and  maintaining  a 
high  artistic  standard.  This  organ- 
ization was  still  active  in  1908  in 
popularizing  serious  opera  in  English 
in  London  and  the  provinces.  Violin 
pupil  of  the  Leipsic  Conservatory  and 
of  the  Paris  Conservatoire,  Rosa  (the 
name  was  originally  Rose)  became 
concertmeister  at  Hamburg,  1863,  then 
toured  with  Bateman  in  America,  and 
then  met  Mme.  Parepa,  whom  he  mar- 
ried. New  York,  1867.  B.  Mar.  22, 
1842,  Hamburg;  d.  April  30,  1889, 
Paris. 

Bosa  (Salvatore)  was  a  celebrated 
painter  who  composed  songs  to  his 
own  verse,  wrote  the  books  of  "  La 
Strega  "  and  "  II  Lamento  "  for  Cesti 
and  Bandini;  also  wrote  six  satires, 
of  which  the  one  entitled  "  La  Mu- 
sica,"  an  attack  on  the  church  music 
of  his  day,  although  not  published 
until  after  his  death,  aroused  a  bitter 
discussion.  B.  July  21,  1615,  Naples; 
d.  Mar.  15  1673,  Rome. 

Bosalia.  It.  Musical  passage  re- 
peated but  transposed  one  tone  higher 
at  each  repetition. 

Bosalie.    Fr.    ROSALIA. 


KOSASEOND  561  HOSES 

Bosamond.  Thomas  Clayton's  set-  appointment  in  love ;  son  and  pupil  of 
ting_  of  the  opera,  book  by  Joseph  DANIEL.  B.  about  1690;  d.  1766. 
Addison,  was  first  performed  Mar.  4,  Bosel  (Budolf  Arthur)  composed 
1707,  at  Drury  Lane,  London,  and  the  lyric  stage  play  "  Halimah," 
withdrawn  after  the  third  represen-  Weimar,  1895;  the  symphonic  poem 
tation.  Thomas  Augustine  Ame's  "  Fruhlingsstiirme " ;  played  and 
successful  setting  of  the  same  book  taught  violin;  pupil  of  Weitnar  Mu- 
was  first  performed  Mar.  7,  1733,  sic  School  and  of  Thomson.  B.  Aug. 
at  the  Little  Theatre,  in  the  Hay-  23,  1859,  MQnchenbernsdorf,  Gera. 
market.  Hosenhain   (Jacob)   composed  the 

Sosamunde.  Franz  Schubert's  in-  operas  "  Der  Besuch  im  Irrenhause," 
cidental  music  to  the  play  by  Wilhel-  Frankfort,  Dec.  29,  1834;  "La  Demon 
mine  Christine  von  Chezy  was  first  de  la  Nuit,"  Paris  Opfira,  Mar.  17, 
performed  Dec.  20,  1823,  at  the  1851;  "Volage  et  Jaloux,"  Aug.  3, 
Vienna  Theater  an  der  Wien,  but  the  1863,  Baden  Baden;  symphonies, 
play  failed  and  was  withdrawn  after  chamber  music ;  played  piano.  B. 
the  second  performance.  There  were  Dec.  2,  1813,  Mannheim;  d.  Mar.  21, 
an  overture  and  10  numbers,  all  of  1894;  Baden  Baden.  Eduard  com- 
which  are  now  published.  posed,  played  and  taught  piano.     B. 

Bose.      Ornamental  border  around    1818,  Mannheim;    brother  of  JACOB; 
the  sound  hole  of  guitars  and  other    d.  1861,  Frankfort, 
stringed  instruments.  Bosenmiiller    (Johann)    composed 

Bose  of  Castile.  Michael  William  church  music;  was  pupil  and  assist- 
Balfe's  three-act  opera,  to  book,  ar-  ant  to  Tobias  Michael  at  the  Thomas- 
ranged  by  Harris  and  Falconer  from  schule,  but  owing  to  serious  accusa- 
"  Le  Muletier  de  Toledo,"  was  first  tions,  removed  to  Venice,  where  he 
performed  Oct.  29,  1857,  at  the  Lon-  taught,  1655-74,  influencing  the  Veni- 
don  Lyceum.  tian    style    of    instrumental    music; 

Bose  of  Persia.  Sir  Arthur  SuUi-  then  settled  in  Wolfenbuttel  as  chapel- 
van's  two-act  comic  opera,  to  book  by  master.  B.  Pelsnitz,  Saxony,  1619; 
Basil  Hood,  was  first  performed  Nov.    d.  1684. 

29,     1899,     at    the     Savoy    Theatre,       Bosenthal   (lloriz)   played  piano, 
London.  especially    noted    as    interpreter    of 

Boseingrave  (Daniel)  played  organ  Schubert  and  modem  composers ; 
at  Gloucester  Cathedral,  1679-81,  and  toured  successfully  throughout  Europe 
thereafter  at  Winchester  and  Salia-  and  America;  wrote  "  Technical 
bury  cathedrals,  going  thence  to  Dub-  Studies  for  the  Highest  Degree  of 
lin  as  organist  at-iSt.  Patrick's  and  Development."  Son  of  a  professor  at 
Christ  Church,  1698;  composed  the  the  Lemberg  Academy,  Kosenthal 
anthems  "Lord,  Thou  art  become  studied  first  at  the  age  of  eight  with 
gracious,"  "  Haste  Thee,  O  Lord,"  and  Galoth,  then  with  Carl  Mikuli,  direc- 
much  church  music  praised  by  Haw-  tor  of  the  Lemberg  Conservatory;  ap- 
kins  and  Bumey.  D.  1727,  Dublin,  peared  as  soloist  at  10  with  success; 
Balph.  composed  eight  anthems  and  became  pupil  of  B^phael  Joseffy  in 
services  in  C  and  F,  some  of  which  are  Vienna,  1875 ;  toured  at  14,  winning 
still  sung  in  Christ  Church  Cathedral,  the  appointment  of  pianist  to  the 
where  he  became  organist  in  succes-  King  of  Boumania;  then  became  pupil 
sion  to  his  father,  DANIEL,  whose  of  Liszt.  For  six  years  from  1880 
pupil  he  was;  also  organist  St.  he  was  a  student  at  Vienna  Univer- 
Patrick's  Cathedral.  B.  about  1695;  sity,  then  resumed  his  concert  tours 
d.  about  1747.  Thomas  composed  the  with  continued  success.  B.  Lemberg, 
opera  "Phaedra  and  Hippolytus,"  Dec.  18,  1862;  add.  Vienna. 
1753,  Dublin,  the  anthems  "  Great  is  Boses  (Jose)  composed  church  mu- 
the  Lord,"  "One  Generation,"  etc.;  sic;  taught  with  great  success; 
played  organ  St.  Greorge's  Chureh,  played  organ  30  years  at  Sta.  Maria 
London;   became  insane  owing  to  dis-   del  Pino,  Barcelona,  in  succession  to 

36 


BOSIN 


562 


BOSSIITI 


Sampere,  whose  pupil  he  had  been, 
and  where  he  was  admitted  to  Holy 
Orders.  B.  Feb.  9,  1791,  Barcelona; 
d.  Jan.  2,  18S6,  Barcelona. 

Kosin.     RESIN. 

Bosina.  Ballad  opera  with  music 
written  or  selected  by  William  Shield, 
was  first  performed  1783,  Covent  Gar- 
den. The  story  is  similar  to  that  of 
Buth  and  Boaz.  A  passage  in  the 
overture  resembles  "Auld  Lang  Syne," 
and  has  led  to  the  claim  that  Shield 
was  the  composer  of  that  melody. 

Kosseter  (Philip)  composed  songs; 
published  "  Lessons  for  Consort," 
1609;  gave  dramatic  performances 
from  1610  as  one  of  the  "  Masters  of 
the  Queen's  Revels  " ;  played  lute.  B. 
about  1575;   d.  May  5,  1623. 

Bossi  (Arcangelo)  sang  buffo  bar. 
rOles  with  admirable  art,  interpreting 
such  rSles  as  Dr.  Dulcamara,  the  Sac- 
ristan, Bartolo,  etc. ;  a  general,  favour- 
ite at  Covent  Garden,  the  Metropoli- 
tan Opera  House,  and  elsewhere,  for 
many  years;  pupil  of  Milan  Conserva- 
tory. Injured  in  the  San  Frapcisco 
earthquake,  where  the  Metropolitan 
company  was  playing,  he  lost  his 
voice,  became  insane,  and  committed 
suicide. 

Bossi  (Cesare)  composed  the  suc- 
cessful opera  "  Nadeja,"  Prague,  1903. 
B.  1864,  Mantua. 

Bossi  (Erancesco)  composed  the 
operas  "  II  Sejano  moderno,"  "  La  Clo- 
rilda,"  "La  pena  degl'occhi,"  "Mi- 
trane,"  containing  the  air  "Ah!  ren- 
dimi  quel  core,"  Venice,  1686  to  1689 ; 
the  oratorio  "  La  Caduta  dei  Giganti." 
B.  Apulia;    entered  the  Church. 

Bossi  (Oiovaniii  Battista)  com- 
posed book  of  four-part  masses  pub- 
lished in  Venice,  1618,  the  same  year 
with  his  "  Organo  de  cantori  per  in- 
tendere  da  se  stesso  ogni  passo  diffi- 
cile."   B.  Genoa;  entered  the  Church. 

Bossi  (Giovanni  G-aetano)  com- 
posed the  prize  symphony  "  Saul," 
Paris,  1878;  the  operas  "Elena  di 
Taranto,"  Parma,  1852,  "  Giovanni 
Giscala,"  "  NicolS  de'  Lapi,"  "  La  Con- 
tessa  d'Altemberg,"  and  "Maria  Sanz," 
Bergamo,  1895,  three  masses,  an  ora- 
torio, a  requiem;  became  director 
Parma    Conservatory,    and   conductor 


Teatro  Carlo  Felice,  Genoa;  pupil  of 
Milan  Conservatory.  B.  Aug.  5,  1828, 
Parma;    d.  Mar.  30,  1886,  Parma. 

Bossi  (Giuseppe)  composed  a 
twelve-part  mass  for  three  choirs  and 
other  church  music;  chapelmaster  at 
the  Castle  of  St.  Angelo  and  San  Lo- 
retto,  Rome.    D.  Rome  about  1719. 

Bossi  (Giuseppe)  composed  the 
opera  "La  sposa  in  Liverno";  wrote 
"AUi  intendenti  di  contrappunto," 
1809;  was  chapelmaster  of  Terni 
Cathedral. 

Bossi  (Lauro)  composed  "  La  Casa 
disabitata,"  Milan,  1834,  and  in  all 
29  operas,  a  grand  mass,  six  fugues 
for  strings,  two  sets  of  solfege;  wrote 
"  Guida  di  armonia  pratica  orale," 
Ricordi,  1858,  while  director  of  the 
Milan  Conservatory;  succeeded  Mer- 
eadante  as  director  Naples  Conservar 
tory,  1870;  toured  America  in  early 
life;  pupil  of  Crescentini,  Furno,  and 
Zingarelli,  Naples.  B.  Feb.  19,  1810, 
Macerate,;    d.  May  5,  1885,  Cremona. 

Bossi  (liuigi)  composed  "Le  ma- 
riage  d'OrphSe  et  Euridice,"  the  first 
Italian  opera  performed  in  Paris,  Mar. 
2,  1647,  other  dramatic  works  and  13 
cantatas.     B.  about  1600,  Naples. 

Bossi  (Hichael  Angelo)  composed 
the  opera  "Erminia  sul  Giordano," 
performed  at  the  Barberini  Palace, 
Rome,  about  1636,  based  on  an  episode 
in  Tasso's  "Jerusalem  Delivered," 
"  Toceate  e  Correnti "  for  organ  or 
cembalo,  second  edition,  Rome,  1657; 
pupil  of  Frescobaldi. 

Bossi  (Salomone)  composed  four 
books  of  "  Sinfonie  e  Gagliarde  "  and 
"  Sonate,"  28  psalms  in  Hebrew  and 
Italian,  1623;  madrigals  and  canzo- 
nets; was  court  musician  at  Mantua, 
1587-1628,  where  he  was  permitted  to 
discard  the  badge  which  other  Jews 
were  compelled  to  wear  in  those 
days. 

Bossini  (Gioacchino  Antonio) 
composed  the  BARBER  OF  SEVILLE 
(Barbiere  di' Seviglia),  one  of  the 
world's  greatest  comic  operas,  and  one 
which  has  delighted  the  opera  lovers 
of  three  generations;  GUILLAUMB 
TELL  ("William  Tell"),  a  masterly 
serious  opera  which  still  holds  a  prom- 
inent place  in  repertoire;    a  STABAT 


BOSSINI 


563 


KOSSINI 


MATER,  regarded  as  the  most  impres- 
sive of  those  in  florid  style;  composed 
a  total  of  35  operas  from  his  18th  to 
his  37th  year,  eclipsing  all  rivals; 
then  foreswore  dramatic  composition 
because  of  the  success  of  Meyerbeer, 
and  devoted  himself  to  a  life  of  pleas- 
ure. Giuseppe  Eossini,  the  town  trum- 
peter of  Lugo,  was  likewise  inspector 
of  slaughter  houses,  but  having  an- 
nounced his  republican  sympathies 
during  the  troublous  year  1796,  he  was 
deprived  of  his  appointments  and  im- 
prisoned. His  wife,  a  baker's  daughter, 
then  obtained  employment  as  a  comic 
singer  in  the  smaller  Italian  theatres, 
and  the  future  composer  accompanied 
his  mother  in  her  wanderings.  The 
elder  Eossini  was  finally  freed,  and 
joined  his  wife,  playing  horn  at  the 
theatres  in  which  she  sang,  while  the 
boy  was  sent  to  Bologna  in  charge  of 
a  pork  butcher.  Prinetti  gave  him 
harpsichord  lessons,  but  with  so  little 
result  that  young  Eossini  began  to 
play  practical  jokes  on  his  master, 
who  avenged  himself  by  having  the 
lad  apprenticed  to  a  smith.  Augelo 
Tesei,  a  teacher  of  the  better  type, 
next  gave  the  boy  lessons  in  harmony 
and  singing.  At  10  he  was  able  to 
earn  money  by  singing  solos  in  church ; 
shortly  after  he  sang  a  rSle  in  the 
opera  at  the  municipal  theatre,  and 
at  13  was  qualified  to  play  horn  and 
accompany  \on  the  cembalo.  He  was 
taking  lessons  from  Babbini,  an  old 
tenor,  when  his  voice  broke,  and  he 
then  entered  the  Bologna  Conserva- 
tory, which  now  bears  his  name  above 
its  portal,  receiving  instruction  in 
counterpoint  from  Padre  Mattei  and 
on  the  'cello  from  Cavedagni.  He  had 
already  composed  "Demetrio,"  an 
opera;  some  songs,  and  horn  duos,  and 
when,  after  months  of  study,  Mattei 
informed  him  that  while  he  was  not 
sufficiently  well  grounded  in  counter- 
point for  church  music,  he  knew 
enough  to  compose  operas,  he  promptly 
dropped  his  studies.  In  1808  Eossini's 
cantata  "II  Pianto  d'armonia  per  la 
morte  d'Orfeo,"  which  had  won  the 
prize  at  the  Conservatory,  was  publicly 
performed.  His  next  work  was  an 
overture  in  fugue  form.    Through  the 


kindness  of  Marquis  Cavalli,  he  was 
commissioned  to  compose  an  opera  for 
the  San  Mos6  theatre,  Venice.  His 
"  La  Cambiale  di  Matrimonio,"  a  one- 
act  opera  buffa,  was  well  received  at 
the  San  Mos6,  1810,  and  led  to  further 
commissions.  Thus  in  the  same  year 
he  composed  the  cantata  "  Didone  ab- 
bandonata,"  produced  at  Bologna,  the 
two-act  opera  "L'Equivoco  strava- 
gante "  for  the  Corso  theatre  of  Bo- 
logna, 1811,  as  well  as  the  "  Demetrio 
e  Polibio  "  for  the  Teatro  Valle.  In 
1812  he  composed  "L'Inganno  felice  " 
and  "L'Occasione  fa  il  Ladro,"  buflFa 
pieces  for  the  San  Mos6,  and  the  ora- 
torio "  Giro  in  Babilonia,"  brought  out 
in  Lent  at  Ferrara.  The  failure  of  his 
oratorio,  as  well  as  of  "  La  Scala  di 
Seta,"  a  one-act  opera  buflFa  composed 
for  San  Mos6,  was  offset  by  the  highly 
successful  production  of  the  two-act 
"  La  Pietra  del  Paragone "  at  La 
Scala,  Milan.  In  1813  the  composer 
was  asked  to  prepare  a  work  for  La 
Fenice,  Venice,  which  at  once  brought 
the  manager  of  the  San  Mos6  down  on 
him  with  a  contract  by  which  he  was 
compelled  to  write  an  opera  for  that 
house.  Eossini  complied  with  his  con- 
tract, but  "  I  due  Bruschini "  proved 
to  be  a  practical  joke  which  deeply 
amused  those  in  the  secret  and  cor- 
respondingly enraged  those  who  were 
not.  Then  came  "Tancredi,"  at  La 
Fenice,  which  was  immensely  popu- 
lar, and  was  followed  by  "  L'ltaJiana 
in  Algeri,"  an  opera  buffa  for  the  San 
Benedetto,  Venice,  and  "  Aureliano  in 
Palmira,"  which  failed  at  La  Scala. 
For  a  time  Eossini  settled  in  Milan, 
much  feted  by  the  aristocracy,  and  in 
1814  his  "II  Turco  in  Italia"  was 
produced  at  La  Scala,  and  he  composed 
the  cantata  "Bgle  ed  Irene"  for  the 
Princess  Belgiojoso.  "  Sigismondo," 
written  for  the  Fenice,  1815,  proved 
such  a  disheartening  failure  that  the 
composer  withdrew  to  his  home  _  in 
Bologna.  Barbaja,  the  Neapolitan  im- 
presario encountered  him  there,  and 
persuaded  him  to  accept  the  direction 
of  the  San  Carlo  and  Del  Fondo 
theatres,  and  to  write  two  operas  for 
him  annually.  Rossini's  salary  was 
fixed  at  about  $2400  per  annum,  and 


BOSSINI 


564 


BOSSINI 


for  the  next  eight  years  he  worked 
constantly  and  with  enormous  profit 
to  Barbaja.  "  Elizabetta,"  produced 
at.  Naples,  1815,  foreshadowed  Scott's 
"  Kenilworth  "  in  subject,  and  marked 
the  beginning  of  Kossini's  new  style, 
for  in  it  he  abandoned  the  use  of  reci- 
tativo  secco.  The  overture  to  this 
work  is  now  played  before  the  Barber 
of  Seville,  one  of  the  next  of  his  operas 
in  chronological  order,  for  which  the^ 
overture  has  been  lost.  "  Torvaldo  e 
Borliska  "  was  produced  at  Rome,  but 
quickly  withdrawn.  Next  came  his 
masterpiece  in  light  opera,  which  was 
given  its  first  performance  at  the  Ar- 
gentina as  "Almaviva,"  and  nearly 
produced  a  riot,  Paisiello  having  al- 
ready produced  a  Barber  of  Seville 
which  the  Bomans  greatly  admired. 
Although  roundly  hissed,  the  manage- 
ment played  Rossini's  work  again  and 
again,  and  it  eventually  became  a 
prime  favourite  in  the  house  where  it 
had  been  originally  almost  denied  a 
hearing.  The  Barber  is  said  to  have 
been  composed  in  thirteen  days,  but  in 
the  hurry  which  marked  this  portion 
of  the  composer's  career,  it  is  not  sur- 
prising that  he  should  have  resorted 
to  the  practice  of  borrowing  melodies 
from  his  earlier  works.  Many  of  the 
20  dramatic  pieces  produced  during 
his  connection  with  Barbaja  were  mere 
pasticcios.  His  next  work  was  "  Teti 
e  Peleo,"  a  cantata  for  a  royal  wed- 
ding, then  came  the  comic  piece  "  La 
Gazzetta  "  for  the  Florentine  theatre ; 
"Otello,"  Teatro  del  Fondo,  Naples, 
in  which  he  introduced  additional  re- 
forms, but  was  obliged  to  revise  the 
tragedy  and  give  it  a  happy  ending. 
"La  Cenerentola"  (Cinderella),  sec- 
ond only  in  merit  to  "  The  Barber," 
was  produced  at  Rome,  1817,  and  the 
same  year  he  achieved  a  fresh  triimiph 
at  La  Scala  with  "  Gazza  Ladra."  His 
interest  in  serious  opera  is  said  to 
have  been  due  the  influence  of  Isabella 
COLBRAN,  who  had  created  many  of 
his  principal  rSles,  and  with  whom  he 
soon  fell  in  love.  Colbran  was  seven 
years  older  than  Rossini,  but  she  pos- 
sessed a  country  place  and  an  income 
of  $2500  per  annum,  and  in  1821,  hav- 
ing produced  his  opera  "  Zelmira  "  at 


Naples  previously  to  offering  it  to  the 
more  severe  Viennese  audiences,  he 
accompanied  her  to  Bologna,  and  they 
were  married  by  Cardinal  Oppizoni. 
Then  they  proceeded  to  the  Austrian 
capital,  where  rehearsals  were  already 
in  progress.  "  Zelmira  "  was  well  re- 
ceived, and  the  composer  mingled 
pleasantly  in  Viennese  society  and  is 
said  to  have  paid  his  respects  to  Bee- 
thoven. It  was  doubtless  owing  to 
this  sojourn  in  Vienna  that  he  was 
commissioned  by  Prince  Metternich  to 
return  for  the  Congress,  and  for  this 
august  assemblage  he  composed  the 
cantatas  "  II  vero  Omaggio,"  "  La 
sacra  Alleanza "  and  "  II  Bardo." 
"  SEMIRAMIDE,"  of  merit  surpassed 
only  by  William  Tell,  and  the  work  on 
which  Rossini  had  spent  more  labour 
than  on  any  other,  was  produced  at 
La  Fenice,  1823,  where  it  failed.  Ros- 
sini was  disgusted,  and  gladly  aeoppted 
the  invitation  of  Benelli  to  write  an 
opera  for  the  King's  theatre,  London. 
Stopping  in  Paris  en  route,  he  made 
himself  agreeable  to  the  musicians  and 
officials,  and  having  cleaned  up  $35,000 
profits  during  a  short  sojourn  in  Eng- 
land, despite  the  bankruptcy  of  his 
manager,  and  the  loss  of  the  first  act 
of  his  London  opera,  "  La  flglia  dell' 
aria,"  he  returned  to  Paris,  having 
made  a  contract  to  manage  the  Theatre 
des  Italiens  at  $4000  per  annum.  He 
held  this  appointment  18  months,  pro- 
ducing several  of  his  own  operas  which 
had  not  hitherto  been  heard  in  Paris, 
and  also  Meyerbeer's  "  Crociato,"  and 
composed  the  new  opera  "  II  Viaggio  a 
Reims  "  for  his  company.  The  artis- 
tic success  of  Rossini's  engagement  was 
more  pronounced  than  the  financial, 
but  he  had  become  a  favourite  with 
the  Parisians,  and  he  was  given  the 
posts  of  first  composer  to  the  king 
and  inspector-general  of  song  in 
France,  sinecures  with  an  income  of 
$4000.  Pleased  with  this  recognition, 
Rossini  revised  his  operas  "Mao- 
metto  "  and  "  Mose  "  that  they  might 
be  sung  in  a  French  version  at  the 
Acad€mie,  and  began  work  on  "  Guil- 
laume  Tell,"  which  he  planned  as  the 
first  of  a  series  of  five  operas  to  be 
presented  in  Paris.     The  furore  occa- 


BOSSINI 


565 


■ROTA 


sioned  by  this  work  led  to  an  agree- 
ment by  which  Rossini  was  to  have 
$3000  from  the  government  of  Charles 
X  for  one  opera  every  second  year,  and 
a  retiring  pension  of  $1200.  In  ac- 
cordance with  this  agreement,  Ros- 
sini was  planning  an  opera  on  Faust, 
after  a  holiday  spent  at  Bologna,  when 
the  Revolution  of  July,  1830,  took 
place,  Charles  X  ceased  to  be  king, 
and  his  succcessor  repudiated  the 
agreement.  Returning  to  Paris,  he 
prosecuted  his  claim  against  the  gov- 
ernment from  1830  until  1835,  when 
his  pension  was  restored.  The  Stabat 
Mater,  his  only  work  during  these 
years,  was  composed  for  the  Spanish 
ambassador,  and  this  he  did  not  then 
complete,  leaving  the  last  four  num- 
bers to  Tadolini.  The  management  of 
the  opera  had  either  shelved  or  muti- 
lated his  works  in  performance,  and 
the  Meyerbeer  craze  had  then  begun. 
Rossini  remained  to  hear  the  first  per- 
formance of  the  Huguenots,  Feb.  29, 
1836,  and  thereafter  renounced  opera. 
Returning  to  Bologna,  he  taught  Al- 
boni  and  others  as  honorary  director 
of  that  Liceo  where  he  had  been  him- 
self a  student.  Finding  that  his  Sta- 
bat Mater  had  been  sold  to  a  specula- 
tive Parisian,  he  completed  the  work 
himself,  and  sold  the  performing  rights 
to  the  Eeudiers  for  $1600  for  three 
months,  and  they  in  turn  disposed  of 
it  to  the  Theatre  des  Italiens  for 
$4000.  Under  the  management  of  this 
house  it  was  performed  in  its  entirety 
Jan.  7,  1842,  at  the  Salle  Ventadour. 
The  "  Inno  popolare  a  Pio  IX  "  was 
the  only  important  work  produced 
during  this  sojourn  in  Bologna.  In 
1845  his  wife  died,  and  in  1847  he  mar- 
ried Olympe  Pelissier,  whom  he  had 
admired  in  Paris.  Political  disturb- 
ances necessitated  his  withdrawal  to 
Florence  that  same  year,  but  in  1855 
he  returned  to  Paris,  finally  establish- 
ing himself  in  a  villa  at  Passy,  where 
he  entertained  his  friends  of  the  artis- 
tic world.  He  agreed  to  a  revival  of 
his  "Bruschino"  at  the  Bouflfes  Pa- 
risiens,  1857,  but  would  not  even  wit- 
ness the  performance,  contenting  him- 
self with  occasional  compositions  for 
the  piano,  and  in  a  life  of  idleness  and 


pleasure.  The  "Petit  Messe  Solen- 
nelle,  which  is  really  a  work  of  large 
proportions,  requiring  two  hours  for 
performance,  is  the  only  notable  work 
of  the  master's  later  years.  It  was 
first  sung  Mar.  14,  1864,  at  the  home 
of  Count  Pillet-Will.  A  man  of  kindly 
impulse,  an  epicure,  a  wit,  Rossini's 
life,  wonderful  for  its  early  activity 
in  contrast  with  the  idleness  which  he 
preferred  on  acquiring  the  means  to 
indulge  it,  was  singularly-  happy.  He 
had  been  made  Foreign  Associate  of 
the  Institut,  Grand  OflScer  of  the  Le- 
gion of  Honor,  commander  of  numer- 
Qus  other  orders  and  a  member  of 
many  learned  bodies;  he  had  every- 
where been  fgted  and  made  much  of, 
and  he  had  known  poverty  only  in 
childhood.  By  his  will  the  greater  part 
of  his  property  went  to  establish  a, 
conservatory  in  his  birthplace,  Pesaro, 
of  which  the  directors  have  been  Baz- 
zini  and  Masoagni.  Works  to  be  noted 
not  mentioned  in  what  has  been  said 
include  the  operas :  "  Adelaide  di  Bor- 
gogria,"  "Adina,"  "Armida,"  "L'As- 
sedio  di  Corinto,"  "  Bianca  e  Fali- 
ero,"  "  Le  Comte  Ory,"  "  La  Dame  du 
Lac  "  ( "  La  Donna  del  Lago  " ) ,  "  Edo- 
ardo  e  Cristina,"  "  Matilda  di  Sha- 
bran,"  "  Ottone,  Re  d'ltalia";  the 
cantatas  "  Partenope,"  "  Igea,"  "  La 
riconoscenza,"  "  L'Augurio  feliee,"  "  II 
pianto  delle  Muse  in  Morte  di  Lord 
Byron,"  "  I  pastore,"  "  II  serto  vo- 
tivo " ;  the  sacred  music,  Tantum 
Ergo,  for  two  ten.  bass  and  orchestra; 
Quonian,  bass  solo  and  orchestra;  0 
Salutaris,  four  solo  voices ;  five  string 
quartets;  a  quantity  of  piano  music, 
often  with  humorous  titles,  sold  in 
manuscript  for  $20,000  by  his  widow. 
B.  Feb.  29,  1792,  Pesaro;  d.  Nov.  13, 
1868,  Passy  near  Paris.  See  biog- 
raphies by  H.  S.  Edwards,  London, 
1869 ;  "  G.  Rossini,  sa  vie  et  oeuvres," 
A.  Azevedo,  Paris,  1865;  "Vie  de 
Rossini,"  Stendhal,  Paris,  1823,  Eng. 
trans.;  "Rossini,  sein  Leben,  seine 
Werk  und  Charakterzuge,"  Leipsie. 

Bostral.     Ger.    Music  pen. 

Kota.  Lat.  "Round,"  any  compo- 
sition having  frequent  repeats ;  instru- 
ment like  the  psaltery,  having  three 
or  seven  strings;   CANON,  RONDO.. 


BOTA 


566 


ROUSSEAU 


Bota  (Andrea)  composed  madri- 
gala,  masses,  and  other  church  music 
dated  Venice  1579  to  1595;  chapel- 
master  of  San  Petronio,  Bologna.  B. 
1553,  Bologna;    d.  1597. 

Kote.    OldEng.    HURDYGURDY. 

Both.  (Bertrand)  played  piano; 
helped  found  RaflE  Conservatory  and 
taught  Frankfort  Hoch  Conservatory 
and  Dresden  Conservatory;  pupil  of 
Leipsic  Conservatory  and  of  .Liszt. 
,B.  St.  Gallen,  Feb.  12,  1855;  add. 
Dresden. 

Bothwell  (Walter  Henry)  con- 
ducted the  first  English  performance 
of  "Parsifal"  in  America,  1903^, 
and  later  the  English  production  of 
"  Madame  Butterfly  " ;  becoming  con- 
ductor of  the  Minneapolis  Symphony 
orchestra  in  1908;  composed  songs 
and  piano  music.  Pupil  of  the  Vienna 
royal  academy,  and  of  Eysstein,  Fuchs, 
Thuille,  and  Schillings,  he  served  as 
conductor  in  several  German  cities 
and  was  attached  to  the  royal  opera 
at  Amsterdam  before  coming  to 
America.  B.  Sept.  22,  1872,  London; 
add.  Minneapolis. 

Botoli  (Augusto)  compose^  mass 
for  the  funeral  of  Victor  Emmanuel, 
1878;  "Salmo  elegiaco"  with  orches- 
tra, 1878;  taught  New  England  Con- 
servatory of  Music ;  in  early  life 
founder  and  conductor  of  the  "  So- 
cieta  corale  de'  concert!  sagri,"  Rome, 
and  singing  master  to  Princess  Mar- 
gherita;  Chevalier  of  the  Crown  of 
Italy.  B.  Jan.  7,  1847,  Rome;  add. 
Boston. 

Botondo.  It.  Round  or  full,  as  to 
quality. 

Botruenges.  Minstrel  ROUNDE- 
LAYS. 

Botulae.  L.  "Little  rounds"; 
Christmas  Carols. 

Rouget  de  I'Isle  (Claude  Jo- 
seph) composed  the  MARSEILLAISE, 
1792,  to  his  own  verse,  and  wrote  a 
hymn  to  liberty  composed  by  Pleyel, 
Strasburg,  1791;  "  Hymne  dithyram- 
bique,"  celebrating  the  fall  of  Robe- 
spierre ;  "  Chant  des  vengeances,"  25 
romances  with  violin  obbligato ;  wrote 
"  Bayard  en  Bresse "  and  other 
dramas,  two  opera  books  for  Chelard, 
"  Essais  en  vers  et  en  prose,"  dedi- 


cated to  Mghul;  played  violin,  sang. 
Graduated  in  1784  from  the  "Ecole 
royale  du  genie,"  he  had  become  lieu- 
tenant of  engineers  when  the  consti- 
tution abolishing  the  crown  was  pro- 
mulgated, and  on  his  refusal  to  sub- 
scribe to  this  he  was  imprisoned  and 
only  saved  from  the  guillotine  by  the 
fall  of  Robespierre.  Then  he  rejoined 
the  army  and  served  until  the  first 
empire,  being  wounded  in  La  Vendee 
in  Hoche's  campaign.  Louis  XVIII 
granted  him  a  pension  which  was  con- 
tinued by  Louis  Philippe.  B.  May  10, 
1760,  Montaigu;  d.  June  27,  1836, 
Choisy-le-Roi. 

Boulade.  Fr.  Flourish,  embellish- 
ment, ornamental  runs. 

Bound.  Composition  in  which  sev- 
eral voices  entering  at  stated  inter- 
vals sing  the  same  music,  the  combi- 
nation producing  correct  harmony. 
Rounds  are  canons  which  can  only  be 
sung  at  the  octavo  or  unison,  and  differ 
from  catches  in  the  subject  matter, 
which  need  not  necessarily  be  humorous. 

Bound,  Catch,  and  Canon  Club 
gave  subscription  dinners  in  London 
at  which  new  rounds,  catches,  and 
canons  by  professional  members  were 
sung,  although  glees  took  the  larger 
part  of  the  programmes  in  1908.  The 
club  was  founded  by  Enoch  Hawkins, 
1843. 

Boundel.    Round  dance. 

Boundelay.  Poem  with  certain 
lines  repeated  at  intervals  or  the  tune 
to  which  such  a  poem  was  sung. 

Bound  O.     RONDO  or  MINUET. 

Eousseau  (Jean  Jacques)  com- 
posed the  pastoral  opera  "  Le  DEVIN 
DU  VILLAGE,"  which  held  the  boards 
60  years  at  the  Paris  Academic  de 
Musique,  "  Pygmalion,"  a  successful 
melodrama,  that  is,  a  play  in  which  the 
lines  are  spoken  with  occasional  or- 
chestral pieces,  Comedie  Francaise, 
Oct.  30,  1770;  100  romances  which  he 
published  as  "Les  consolations  des 
miseres  de  ma  vie";  invented  a  nu- 
merical form  of  Notation;  wrote  ar- 
ticles on  music  for  the  Encyclopfidie; 
a  "  Dictionnaire  de  Musique,"  1764, 
admirable  for  that  period,  and  many 
controversial  works.  This  eminent 
author  was  obliged  to  copy  music  for 


BOXJSSEAU 


567 


ROYAL  ACADE3CY 


a  livelihood,  and  while  not  profoundly 
versed  in  the  rules  of  counterpoint 
and  harmony,  possessed  considerable 
creative  talent,  as  is  proven  by  nu- 
merous compositions.  His  life  is  told 
with  amusing  frankness  in  his  Con- 
fessions, his  notation  is  described  in 
his  "  Dissertation  sur  la  musique  mo- 
derne,"  Paris,  1743,  and  during  the 
quarrels  between  adherents  of  the 
French  and  Italian  schools  of  music 
he  published  "  Lettre  sur  la  Musique 
francaise,"  in  which  he  concludes  that 
"  the  French  have  no  music,  never  will 
have  any;  or  if  they  should,  it  will 
be  so  much  the  worse  for  them."  The 
company  of  the  Opfira  responded  by 
burning  Rousseau  in  effigy,  to  which  he 
replied  with  the  satirical  "  Lettre  d'un 
symphoniste  de  I'Academie  royale  de 
musique  a  ses  camarades  de  I'or- 
chestre."  His  "  Essai  sur  I'origine 
des  langues,"  1753,  besides  chapters  on 
harmony  and  Greek  music,  gives  the 
germ  of  subsequent  absurdities  re- 
garding the  alleged  analogies  between 
tones  and  colors.  His  "  Lettre  a.  M. 
Burney  sur  la  Musique,  avec  des  frag- 
ments d'observations  sur  I'Alceste  ital- 
ien  de  M.  le  chevalier  Gluck  "  is  one 
of  the  earliest  and  best  examples  of 
opera  analyses.  His  controversy  with 
RAMEAU  and  others  created  intense 
interest,  but  he  was  manly  enough  to 
correct  many  of  his  errors  in  later 
life,  while  clinging  to  his  admiration 
of  Gluck.  Besides  the  compositions 
noted  Rousseau  composed  "  Les  muses 
galantes,"  1747,  which  failed,  and 
fragments  of  an  opera  "  Daphnis  et 
Chloe,"  published  in  Paris,  1780.  B. 
June  28,  1712,  Geneva;  d.  July  3, 
1778,  Ermenonville,  near  Paris. 

Rousseau  (Samuel  Alexandre) 
composed  the  three-act  opera  "La 
Cloche  du  Rhin,"  Paris  Opgra,  June  8, 
1898;  the  three-act  opera  "  Merowig, 
City  of  Paris  prize,  produced  Nancy, 
Jan.  12,  1894;  two  masses  and  other 
church  music;  conducted;  won  the 
prix  de  Rome,  Paris  Conservatoire, 
1878,  where  he  had  been  a  pupil  of 
Cesar  Franck,  with  his  cantata  La 
Fille  de  JephtS."  B.  June  11,  1853, 
Neuve-Maison,  Aisne;  d.  Oct.  1,  1904, 
Paris. 


Rpvelli  (Oiovauni  Battlsta) 
played  first  violin,  beginning  of  the 
19th  century  at  the  Church  of  S'.  Majia 
Maggiore,  Bergamo.  Giuseppe  played 
'cello.  B.  1753,  Bergamo;  son  of 
GIOVANNI  BATTISTA;  d.  Nov.  12, 
1806,  Parma.  Alessandro  directed 
Weimar  orchestra;  son  of  GIOVANNI 
BATTISTA.  Pietro  played  violin, 
became  musician  to  the  court  of  Ba- 
varia; pupil  of  his  grandfather  and 
of  Kreutzer.  B.  Feb.  6,  1793,  Ber- 
gamo; son  of  ALESSANDRO;  d. 
Sept.  8,  1838,  Bergamo. 

Kovesciamento.     It.     ROVESCIO. 

Bovescio.  It.  "  By  inversion " ; 
contrary  motion  as  in  a  CANON  Can- 
crizans. 

Row  of  Keys.  MANUAL  or  CLA- 
VIER. 

Royal  Academy  of  Music  taught 
music  in  all  branches,  having  in  1908 
a  staff  of  102  professors,  20  assist- 
ants, 500  pupils,  with  59  scholar- 
ships including  15  founded  by  Mrs. 
Ada  Lewis  Hill  and  33  prizes.  The 
principal  was  Sir  Alexander  Camp- 
bell Mackenzie,  whose  administra- 
tion, beginning  1888  was  the  first 
that  could  be  called  successful.  He 
was  aided,  by  a  committee  of  man- 
agement consisting  of  professors  and 
a  few  laymen.  There  were_  depart- 
ments for  languages,  elocution,  dic- 
tion, dancing,  the  drama,  fencing, 
deportment,  all  comfortably  housed 
in  Tenterden  street,  London.  A  small 
subsidy  is  allowed  by  the  British 
Government,  and  in  connection  with 
the  ROYAL  COLLEGE  OF  MUSIC, 
the  Academy  holds  examinations  in 
music  throughout  the  empire,  and 
issues  diplomas.  Public  performances 
are  a  feature  of  the  school  year.  The 
institution  was  organized  1822,  under 
royal  patronage,  by  an  assemblage  of 
the  nobility  and  gentry  presided  over 
by  the  Earl  of  Westmoreland,  then 
Lord  Burghersh,  and  Dr.  Crotch  was 
made  the  first  principal,  an  office  to 
which  Cipriani  Potter,  Charles  Lucas, 
William  Sterndale  Bennett,  and 
George  Alexander  Macfarren  suc- 
ceeded in  turn.  For  many  years  the 
Academy  lacked  adequate  financial 
support,  small  grants  being  allowed 


BOTAIi  AlVEATEUB 


568 


BOYAIi  SOCIETY 


by  one  government,  and  disallowed 
by  the  party  next  succeeding  to  power. 
In  1908  besides  $2500  from  the  gov- 
ernment the  Academy  was  supported 
by  donations,  fees,  and  subscriptions. 
The  president  then  was  H.R.H.  the 
Duke  of  Connaught.  An  earlier 
Boyal  Academy,  founded  in  London 
1720  and  becoming  extinct  eight  years 
later,  raised  $250,000  to  guarantee 
Italian  opera,  which  had  been  dis- 
continued three  years  before.  The 
then  Duke  of  Newcastle  was  Gov- 
ernor of  the  Academy,  which  included 
most  of  the  higher  nobility  among  its 
supporters.  BONONCINI  and  HAN- 
DEL became  the  directors,  and  many 
of  their  operas  were  then  heard  for 
the  flrs^t  time.  Performances  took 
place  in  the  King's  theatre  in  the 
HAYMARKET,  but  continued  at  a 
loss  until  the  extraordinary  success 
of  the  BEGGAR'S  OPERA  put  a 
quietus  to  the  Academy,  which  had 
expended  the  whole  of  the  guarantee 
fund,  and  was  disrupted  by  dissensions. 

Boyal  Amateur  Orchestral  So- 
ciety was  founded  in  London,  1872 
by  H.II.H.  the  Duke  of  Edinburgh, 
later  Duke  of  Saxe-Coburg  and  Gotha, 
who  became  president  and  leader  of 
the  orchestra.  The  first  conductor 
was  Sir  Arthur  Sullivan.  For  29 
years  George  Mount  was  conductor, 
when  Ernest  Ford   succeeded   him. 

Boyal  Choral  Society  gave  admir- 
able oratorio  concerts  in  London.  In 
1872  the  choir  founded  by  Charles 
F.  Gounod  and  that  of  Sir  Joseph 
Barnby  were  united  under  the  lat- 
ter's  conductorship,  as  the  Royal  Al- 
bert Hall  Choral  Society,  and  the 
name  above  given  was  bestowed  by 
Queen  Victoria,  1888.  On  the  death 
of  Sir  Joseph  Barnby,  1898,  Sir  Fred- 
erick Bridge  became  conductor. 

Boyal  College  of  Slusic  taught 
music  in  all  branches,  the  faculty 
being  headed  in  1908  by  RANDEG- 
GER  and  VISETTI,  Singing;  FRANK- 
LIN TAYLOR,  piano;  ARBOS,  and 
RIVARDE,  violin;  Sir  C.  V.  STAN- 
FORD, composition;  Sir  J.  F. 
BRIDGE,  theory;  with  Sir  Hubert 
PARRY  as  director.  There  were 
nearly  400  students,  and  the  College 


had  its  own  buildings,  including  a 
concert  room,  in  Prince  Consort  Road, 
London.  A  "  Patrons  Fund,"  founded 
by  S.  Ernest  Palmer,  1903,  of  about 
$140,000  is  used  for  the  encourage- 
ment of  native  composers.  The  li- 
braries of  the  SACRED  HARMONIC 
SOCIETY,  and  of  the  CONCERTS  OP 
ANCIENT  MUSIC,  the  latter  pre- 
sented by  Queen  Victoria,  are  in  pos- 
session of  the  College.  An  outgrowth 
of  the  NAOIIONAL  TRAINING 
SCHOOL,  the  College  dates  back  to 
1882.  It  is  affiliated  with  the  ROYAL 
ACADEMY  OF  MUSIC  in  the  matter 
of  examinations  only.  The  Prince  of 
Wales,  now  Edward  VII,  was  presi- 
dent of  the  council  of  administration, 
and  Sir  George  GROVE  was  the  first 
director.  In  1908  the  council  was 
headed  by  the  Prince  of  Wales. 

Boyal  Irish  Academy  of  Kusic 
taught  music  in  all  branches,  having 
a  faculty  of  more  than  40  in  1908 
and  an  enrollment  of  nearly  ^00.  The 
Academy  then  had  an  endowment  of  ^ 
nearly  $100,000,  and  was  adminis- 
tered by  a  Board  of  Governors.  The 
King  is  patron,  the  Duke  of  Con- 
naught  vice  patron,  and  the  Lord 
Lieutenant  of  Ireland  ex  officio  presi- 
dent of  the  board.  The  professors 
have  included  Sir  Robert  Stewart, 
Joseph  ROBINSON,  Mrs.  Fanny 
ROBINSON,  Levey,  Eisner,  Bast,  and 
Michele  ESPOSITO. 

Boyal  Society  of  ISusiciaiis  of 
Great  Britain  distributed  its  income, 
amounting  in  1908  to  $15,000  for  the 
relief  of  indigent  musicians  or  their 
families.  The  members,  since  the 
union  of  the  organization  with  the 
Boyal  Society  of  Female  IlCusiciana 
[1839-66],  have  been  professional 
musicians  of  either  sex,  aided  by  the 
voluntary  services  of  a  medical  and 
legal  staflf.  Dr.  W.  H.  Cummings  was 
the  honorary  treasurer  in  1908.  The 
Society  was  founded  by  FESTING 
and  WIEDEMANN,  and  its  charter 
members,  1738,  included  HAISTDEL, 
BOYCE,  C.  SMITH,  CAREY,  COOKE, 
E.  PURCELL,  LEVERIDGE,  GREENE, 
READING,  HAYES,  PEPUSCH, 
TRAVERS,  and  has  since  included  the 
most  eminent  of  British  musicians. 


ROZE 


569 


HtTBINSTBlN 


Koze  (Uarie  Eippolyte)  sang  sop. 
in  opera,  creating  in  English  such  im- 
portant rdles  as  "Manon  Lescaut," 
"  Margaret,"  and  "  Helen  "  in  Boito's 
"Mefistofele";  debut,  Aug.  16,  1865, 
Paris  Op4ra  Comique,  as  Marie  in 
Herold's  opera  of  the  same  name, 
after  having  won  first  prize  at  the 
Paris  Conservatoire.  While  singing 
in  England,  1874,  she  married  Julius 
Edson  Perkins,  an  American  baritone, 
and  on  his  death  Henry  MAPLESON, 
making  highly  successful  tours  in 
America  and  elsewhere  under  his  man- 
agement. From  1882  until  1889  she 
alternated  between  the  CARL  ROSA 
company,  the  Italian  opera  in  Lon- 
don and  in  America,  then  settled  in 
Paris  as  a  teacher,  making  a  farewell 
appearance,  however,  at  a  concert 
given  by  a  pupil  in  London,  1903.  B. 
Mar.  2,  1846;  maiden  name  Ponsin; 
add.  Paris. 

Suana.  East  Indian  instrument 
of  the  viol  family. 

Bubato.  /*.  "  Stolen,  robbed,"  the 
deviation  from  strict  time,  giving  one 
note  greater  and  others  less  duration 
than  signature  calls  for.  The  judi- 
cious use  of  Rubato  is  essential  to 
the  proper  expression  of  most  music, 
but  its  abuse  is  equally  general. 

Bubezabl.  C.  M.  von  Weber's  two- 
act  opera,  to  book  by  J.  G.  Rhode, 
was  composed,  1804-6,  at  Breslau. 
Three  numbers  are  still  extant  in  MS. 
Many  operas  by  other  composers  have 
borne  this  title.  That  of  Friedrich  von 
Flotow  was  first  performed  1854. 

Bubinelli  (Giovanni  Battista) 
sang  in  opera;  debut  in  Sachini's 
"Calliroe,"  Stuttgart,  1771,  later 
throughout  Italy  and  in  London.  B. 
1753,  Brescia;    d.  1829,  Brescia. 

Bubini  (Giovanni  Battista)  sang 
ten.,  creating  many  rdles  for  Bellini, 
Donizetti,  and  Rossini;  invented  the 
"sob"  and  "vibrato,"  both  of  which 
have  been  subjected  to  vulgar  abuse 
ever  since;  possessed  range  from  E 
to  b'  with  falsetto  register  to  f;  was 
"  the  King  of  Tenors  "  from  his  debut 
at  Paris  in  "  Cenerentola,"  1825,  until 
his  retirement,  1844;  first  appear- 
ance in  woman's  r6le  at  Rome  at  12, 
then  member  of  Barbaja's  company  in 


Naples.  He  spent  the  best  part  of  his 
career  in  Paris  and  London,  although 
he  occasionally  made  tours,  such  as 
that  of  1843  with  Liszt,  when  he  re- 
ceived more  than  $10,000  for  a  single 
concert  in  St.  Petersburg,  so  delight- 
ing Emperor  Nicholas  that  he  con- 
ferred on  him  the  rank  of  colonel  and 
the  post  "director  of  singing"; 
pupil  of  Don  Santo,  priest  and  organ- 
ist at  Adro.  B.  April  7,  1795,  Ro- 
mano, near  Bergamo ;  d.  Mar.  2,  1854, 
at  his  estate  at  Romano. 

Bubinstein  (Anton  Gregoro- 
vitch)  founded  the  ST.  PETERS- 
BURG CONSERVATORY  OF  MUSIC:; 
composed  the  opera  "DEMONIO,"  and 
in  every  form;  was  the  greatest  of 
recent  pianists  with  the  exception  of 
Liszt ;  wrote  on  musical  topics.  Son 
of  a  Jewish  manufacturer  who  had 
established  himself  in  Volhynia,  as 
a  child,  Rubinstein  was  first  the  pupil 
of  his  mother,  who  is  said  to  have 
been  an  accomplished  pianist,  then  of 
Alexander  Villoing,  of  Moscow,  under 
whom  his  progress  was  so  rapid  that 
his  teacher  introduced  him  at  a  public 
concert  at  nine  in  Moscow,  and  then 
took  him  to  Paris,  where  in  1840 
his  playing  aroused  the  admiration  of 
Liszt  and  Chopin.  In  accordance  with 
their  advice  the  boy  studied  composi- 
tion with  Dehn  in  Berlin,  together 
with  his  brother  NIKOLAI,  but  con- 
tinued to  give  concerts,  appearing  in 
Germany,  England,  and  Scandinavia 
until  1846,  when  he  settled  in  Vienna 
as  a  teacher,  and  made  occasional  con- 
cert tours  of  Hungary  and  Austria. 
In  1848  he  returned  to  St.  Petersburg, 
and  for  the  next  eight  years  studied, 
composed,  and  lived  at  ease  under  the 
patronage  of  Grand  Duchess  Helen. 
His  earliest  operas,  "  Dimitri  Don- 
skoi,"  1852,  "Die  Sibirischen  Jager," 
1852,  "Tomes  der  Narr,"  1853,  and 
"  Hadji-Abrek,"  1853,  were  not  at  first 
performed,  but  others  of  his  works 
had  crept  into  print,  been  well  re- 
ceived, and  when  he  resumed  his  con- 
cert tours,  he  was  already  widely 
known,  both  as  a  composer  and  pian- 
ist. A  series  of  brilliant  performances 
in  St.  Petersburg  and  Moscow  in  1858i 
led  to  his  appointment  as  chapelmaater 


RTTBINSTEIIT 


570 


KUBINSTEIN 


to  the  Imperial  Court  with  an  income 
for  life.  In  1859  he  founded  the  Rus- 
sian Musical  Society,  of  which  he  be- 
came conductor,  and  in  1862  estab- 
lished the  St.  Petersburg  Conserva- 
tory, of  which  he  was  the  principal 
for  the  next  five  years.  In  reward  for 
this  important  service  to  art  he  was 
given  the  Order  of  St.  Vladimir,  which 
raised  him  to  the  nobility.  1869-70 
were  spent  in  concert  tours  of  Europe, 
then  he  accepted  the  conductorship  of 
the  Vienna  Philharmonic  and  Choral 
concerts,  but  without  wholly  relin- 
quishing his  career  as  virtuoso.  His 
remarkable  American  tour,  1872-73, 
brought  him  $40,000  for  215  concerts, 
and  so  enhanced  his  popularity  in  the 
New  World  that  he  was  afterwards 
offered  $125,000  for  50  concerts,  but 
could  not  overcome  his  dread  of  the 
voyage.  From  1887  to  1891  he  was 
again  at  the  head  of  the  St.  Peters- 
burg Conservatory,  then  resided  for 
a  time  in  Berlin  and  Dresden,  and 
again  returning  to  Russia.  It  was 
Rubinstein's  desire  to  be  known  as  a 
composer,  and  he  revived,  or  perhaps 
created,  the  form  of  sacred  opera;  but 
his  reputation  as  a  pianist  was  so 
great  that  his  merit  as  a  creative 
genius  was  not  fully  realized,  and  he 
was  forced  to  give  concert  tours  long 
after  he  had  planned  his  retirement. 
His  literary  works  include  an  Auto- 
biography in  celebration  of  his  jubi- 
lee as  an  artist,  1889;  "Die  Kunst 
und  Ihre  Meister,"  1892;  "Erinner- 
ungen  aus  50  Jahren,"  and  the  posth. 
"  Gedankenkorb,"  1897.  See  biogra- 
phies by  MacArthur,  London,  1889; 
Sandra  Droucker,  1904;  W.  Baskin, 
N.  liissowski.  B.  Nov.  28,  1830;  d. 
Nov.  20,  1894,  Peterhof.  The  complete 
list  of  Rubinstein  works  is  as  follows : 
6  little  songs  in  low  German  dialect. 
Op.  I;  2  Fantasies  on  Russian  themes, 
piano.  Op.  2;  2  Melodies,  piano,  Op. 
3;  Mazurka- Fantasie,  in  G,  piano, 
Op.  4;  Polonaise,  Cracovienne  and 
Mazurka,  piano.  Op.  5;  Tarentelle,  in 
B,  piano.  Op.  6,'  Impromptu-Ca- 
price "Homage  a  Jenny  Lind,"  in  A 
minor,  piano.  Op.  7;  6  songs  vrith 
Russian  words  with  piano,  Op.  8; 
Gctet  in  D  for  piano,  violin,  viola, 'cello, 


bass  flute,  clarinet  and  horn,  Op.  9; 
Kammenoi-Ostrow,  24  portraits,  pi- 
ano, Op.  10;  3  pieces  for  piano 
and  violin;  3  for  piano  and  'cello, 
and  three  for  piano  and  viola.  Op.  11; 
1st  Sonata,  in  E,  piano.  Op.  12;  1st 
Sonata  in  G,  piano  and  violin.  Op.  13; 
Fantasia  in  10  numbers,  "  The  Ball," 
piano.  Op.  14;  2  trios  in  F,  G  minor, 
piano,  violin  and  'cello,  Op.  15;  Im- 
promptu, Berceuse  and  Serenade  pi- 
ano, Op.  16;  3  String  Quartets  in  G, 
C  minor  and  F,  Op.  17;  1st  Sonata 
in  D,  piano  and  'cello.  Op.  18;  2d  Son- 
ata in  A  minor,  piano  and  violin.  Op. 
19;  2d  Sonata  in  C  minor,  piano, 
Op.  20;  3  Caprices  in  F  sharp,  D,  E 
flat,  piano.  Op.  21;  3  Serenades  F, 
G  minor,  E  flat,  piano.  Op.  22;  6 
Etudes,  piano, .  Op.  23 ;  6  preludes, 
piano.  Op.  24,  Ist  Concerto  in  E  minor, 
piano,  Op.  2S;  Romance  and  Im- 
promptu in  F,  and  A  minor,  piano,  Op. 
26;  9  songs  to  Russian  words,  with 
piano,  Op.  27 ;  Nocturne  and  Caprice, 
in  G  flat  and  E  flat,  piano.  Op.  28;  2 
Funeral  Marches,  one  "For  an  Artist," 
in  F  minor,  one,  "  For  a  Hero,"  in  C 
minor,  piano,  Op.  29;  Barcarolle, 
"Allegretto  Apass."  in  D  minor, 
piano.  Op.  30;  6  4-part  songs  for 
male  voices.  Op.  31;  6  Songs  from 
Heine,  with  piano,  Op.  32;  6  Songs 
with  piano.  Op.  33 ;  13  Persian  Songs, 
with  piano.  Op.  34;  2d  Concerto  in 
F,  piano.  Op.  35;  12  Songs  from  the 
Russian,  with  piano.  Op.  36;  Aeros- 
tique  "Laura,"  piano.  Op.  37;  Suite 
10  numbers,  piano.  Op.  38;  2d  So- 
nata in  G  piano  and  'cello.  Op.  39; 
1st  Symphony  in  F,  Op.  40;  3d 
Sonata  in  F,  piano.  Op.  41;  2d 
Symphony  in  C,  "Ocean,"  Op.  42; 
Triumphal  Overture,  orchestra,  Op. 
43;  6  Pieces  "Soirees  de  St.  Pe- 
tersburg," piano.  Op.  44;  3d  Con- 
certo in  G,  piano.  Op.  45;  Concerto 
in  G,  violin  and  orchestra.  Op.  46; 
3  String  Quartets,  Nos.  4,  5,  6,  E 
minor,  B  flat,  D  minor.  Op.  47;  12 
2-part  songs  from  the  Russian  with 
piano.  Op.  48;  Sonata  in  F  minor, 
piano  and  viola.  Op.  49;  6  studies 
"Charakter  Bilder,"  piano  duet.  Op. 
50;  6  morceaux,  piano.  Op.  51; 
3d  Trio  in  B  flat,  piano  and  strings, 


RXTBHTSTEIN                  571  RTTBllTSTEIir 

Op.  52;  6  Preludes  and  Fugues  chestra,  Op.  96;  Sextet  in  D,  Strings, 
m  free  style,  piano.  Op.  53 ;  Sacred  97 ;  3d  Sonata  in  B  minor,  piano  and 
Opera  m  3  parts,  "Paradise  Lost,"  violin,  Op.  98;  Quintet  in  G  minor, 
after  Milton,  Op.  54;  Quintet,  in  F  piano  and  strings,  Op.  99;  4th  Sonata 
piano  and  winds.  Op.  55;  3d  Sym-  in  A  minor,  piano.  Op.  100;  12  Songs, 
phony,  in  A,  Op.  56;  6  Songs  with  voice  and  piano,  Op.  101;  Caprice 
piano.  Op.  57;  Soena  ed  Aria  "E  Russe,  piano  and  orchestra,  Op.  102; 
dunque  vero?"  Sop.  and  orchestra.  Set  of  20  characteristic  pieces,  "Bal 
Op.  58 ;  String  Quintet  in  F,  Op.  59 ;  Costume,"  piano,  4-hands,  Op.  103 ;  Me- 
Concert  Overture  in  B  flat.  Op.  60;  gie.  Variations,  4tude,  piano.  Op.  104; 
3  Part-songs  for  male  voices.  Op.  A  series  of  Russian  Songs,  voice  and 
61;  6  Part-songs  for  mixed  voices,  piano.  Op.  105;  2  String  Quartets, 
Op.  62;  "Die  Nixe,"  Alto,  female  Nos.  9,  10,  A  flat,  F  minor.  Op.  106; 
chorus,  and  orchestra.  Op.  63 ;  5  5th  Symphony,  in  G  minor,  in  memory 
Fables  by  Krilofif,  Op.  64;  1st  Con-  of  the  Grand-duchess  H6l6ne  Pau- 
certo,  in  A  minor,  'cello  and  orehea-  lowna.  Op.  107;  5th  Trio  in  C  minor, 
tra.  Op.  65;;  Quartet  in  C,  piano  piano  and  strings.  Op.  108;  Soirees 
and  strings.  Op.  66;  6  2-part  songs  Musicales,  piano.  Op.  109;  Eroica, 
with  piano.  Op.  67;  "Faust"  Mu-  Fantasia,  piano  and  orchestra.  Op. 
sical  Portrait,  orchestra.  Op.  68;  5  110;  6th  Symphony,  A  minor.  Op. 
Morceaux,  piano.  Op.  69;  4th  Con-  111;  "Moses,"  a  Biblical  opera  in  8 
eerto  in  D  minor,  piano.  Op.  70;  tableaux.  Op.  112;  Concertstiicke, 
3  Morceaux,  piano.  Op.  71;  6  Songs  piano  and  orchestra.  Op.  113;  Aristi- 
for  a  low  voice  with  piano.  Op.  chon,  piano.  Op.  114;  Songs,  Op.  115; 
72 ;  Fantasie  in  P,  2  pianos.  Op.  73 ;  Concert-overture,  "  Anthony  and  Cleo- 
"  Der  Morgan,"  cantata  from  the  Bus-  patra,"  Op.  116;  Christus,  Biblical 
sian  for  male  voices  and  orchestra.  Op.  Opera,  Op.  117;  6  soli,  piano.  Op.  118; 
74;  12  Pieces,  "Album  de  Peterhof,"  Suite  in  E  flat  for  orchestra,  in  six 
piano.  Op.  75;  6  Songs,  piano  and  movements.  Op.  119.  Without  opus 
voice.  Op.  76;  Fantasie  in  E  minor,  numbers:  the  symphonic  poem 
piano.  Op.  77 ;  12  Songs  from  the  Rus-  "  Ruasij,"  Moscow,  1882 ;  Ouverture 
sian,  with  piano,  Op.  78 ;  "  Ivan  the  solennelle  with  organ,  orchestra,  and 
Terrible,"  Musical  Portrait  for  orches-  chorus  (posth.) ;  Barcarolles  in  A 
tra.  Op.  79;  Sacred  opera  in  one  act,  minor,  G  and  C  minor;  transcription 
"The  Tower  of  Babel,"  Op.  80;  6  of  March  from  Beethoven's  " Ruins  of 
Etudes,  piano.  Op.  81;  Album  of  6  Athens,"  for  piano;  "Valse  Caprice," 
National  Dances,  piano.  Op.  82;  10  E  flat,  "  Ungarische  Phantasie,"  "  Rua- 
Songs,  voice  and  piano.  Op.  83;  Fan-  sische  Serenade,"  "Phantasie,"  three 
tasia,  piano  and  orchestra.  Op.  84 ;  Morceaux  Caracteristiques,  6  Preludes, 
4th  Trio,  in  A,  piano  and  strings,  Op.  Cadenzas  to  Beethoven's  Concertos, 
85;  Romance  and  Caprice,  violin  and  Cadenzas  for  Mozart's  D  minor  Con- 
orchestra,  Op.  86;  Musical  Portrait,  certo,  all  for  piano;  the  dramatic 
"Don  Quixote,"  orchestra.  Op.  87;  works,  in  addition  to  those  already 
Theme  and  Variations  in  G,  piano,  noted,  "  Mest "  or  "  Die  Rache,"  1858, 
Op.  88;  Sonata  in  D,  piano  duet,  Op.  St.  Petersburg;  "Die  Kinder  der 
89 ;  2  String  Quartets,  Nos.  7  and  8,  Haide,"  5  acts,  Vienna,  1861 ;  "  Fera- 
G  minor  and  E  minor.  Op.  90 ;  Songs  mors,"  based  on  "  Lalla  Rookh,"  3 
for  Mignon  from  Goethe's  "Wilhelm  acts,  Dresden,  1863;  "Die  Makka- 
Meister,"  soli,  chorus,  and  orchestra,  baer,"  3  acts,  Berlin,  1875;  "Nero," 
Op.  91 ;  "  Hecuba  "  and  "  Hagar  in  the  4  acts,  Hamburg,  1879 ;  "  Kalashmkov 
Desert,"  2  scenas  for  con.  and  orches-  Moskovski  Kupets "  or  "  Der  Kauf- 
tra,  Op.  92;  9  Books  of  miscellaneous  mann  von  Moskan,"  St.  Petersburg, 
pieces,  12  for  piano.  Op.  93 ;  5th  Con-  1880;  "Die  Rebe"  or  "La  Vigne," 
certo  in  E  flat,  piano.  Op.  94;  4th  1882;  "  Sulamith,"  Hamburg,  1883; 
Symphony,  "Dramatic,"  in  D  minor,  "Unter  Raubern,"  1  act,  Hamburg, 
Op.  95;    2d  Concerto,  'cello  and  or-  1883;  "Der  Papagei,"  1  act,  Hamburg, 


KUBNEB 


572 


RUDHALIi 


1889;  "Gtorjushia"  or  "Die  Kmn- 
mervolle,"  St.  Petersburg,  1889.  Nich- 
olas founded  the  Russian  Musical  So- 
ciety of  Moscow,  1859,  and  the  Moscow 
Conservatory  of  Music,  1864,  and  man- 
aged and  conducted  both  during  life; 
composed  "  Sc6ne  du  bal  polonaise," 
Op.  17,  etc. ;  taught  and  played  piano ; 
pupil  of  KuUah  and  Dehn,  Berlin.  B. 
June  2,  1835;  brother  of  ANTON;  d. 
Mar.  23,  1881,  Paris, 

Riibner  (M.  Cornelius)  became 
prof,  of  music,  Columbia  University, 
on  the  retirement  of  Dr.  MACDOW- 
ELL,  a  post  he  filled  in  1908;  com- 
posed, conducted,  played  piano;  pupil 
of  Copenhagen  and  Leipsic  conserva- 
tories and  of  Hartmann,  Reineeke, 
Rubinstein  and  Liszt.  Published 
works  include:  Concerto  for  violin, 
E  minor.  Op;  30 ;  "  Praktische  Finger- 
ubimgen  filr  Pianoforte,"  "Prinz 
Ador,"  a  tanzmarchen  in  three  acts, 
six  lieder  for  male  quartette,  five 
lieder  for  mixed  choir.  Op.  11;  the 
symphonic  poem  "  Friede,  Kampf  und 
Sieg";  "Kaiserlied,"  Op.  21,  No.  1. 
B.  Oct.  26,  1855,  Copenhagen;  add. 
New  York. 

Kuckers  (Hans)  made  harpsi- 
chords in  Antwerp  and  founded  that 
celebrated  family  which  for  nea,rly  a 
hundred  years,  beginning  1579,  made 
the  best  instruments  of  this  class  in 
the  world.  Soil  of  Francis  Ruckers 
of  Mechlin,  Hans,  known  as  De  Oude 
or  "  the  Elder,"  became  an  expert  at 
building  and  tuning  organs,  and  it 
is  believed  that  he  was  the  first  to 
have  applied  the  organ  mechanism  of 
stops  and  registers  to  the  HARPSI- 
CHORD in  order  to  obtain  variety  of 
timbre  and  pianoforte.  It  is  certain 
that  his  instruments  show  the  addi- 
tion of  the  octave  string,  that  he  was 
first  to  fasten  the  strings  to  hitch  pins 
on  the  soundboard,  and  to  add  a  sec- 
ond keyboard  or  manual.  Instrument 
makers  in  those  days  were  required  to 
be  artists  as  well  as  artisans,  and  in 
1575  HANS  was  -admitted  to  the  guild 
of  St.  Lucas,  Antwerp,  as  "clavisln- 
balmakerre."  In  the  same  year  he 
married  Naenken  Cnaeps.  In  1908, 
20  of  his  instruments  were  still  in 
existence,  all  highly  prized  because  of 


the  exceptional  beauty  of  their  work- 
manship, and  their  exquisite  decora^ 
tions.  They  are  dated  1590  to  1612. 
B.  about  1555,  Mechlin;  d.  after  1614. 
Hans  de  Jonge  or  "  the  Younger  " 
was  like  his  father,  HANS,  an  expert 
in  organ  building  and  tuning,  as  well 
as  in  harpsichord  making.  Thirty 
instruments  bearing  his  trademark 
were  extant  in  1908,  dated  1617  to 
1642.  Baptized  Jan.  13,  1578;  m. 
Marie  Waelrant,  Nov.  16,  1604;  d. 
about  1642.  Andries  de  Oude  made 
harpsichords  prized  equally  with  those 
of  his  father,  HANS  DE  OUDE,  and 
his  brother  HANS  DE  JONGE;  36  of 
his  instruments  in  1908  were  dated 
1610  to  1651.  B.  1579;  d.  after  1651. 
Erancis  and  Anthony,  sons  of  HANS 
DE  OUDE,  may  have  been  employed 
by  the  other  members  of  the  family, 
but  their  names  do  not  appear  as 
makers.  Andries  de  Jonge  made 
harpsichords,  of  which  four  surviving 
specimens  are  dated  1655  to  1659.  B. 
about  1607;  m.  Catherina  de  Vriese, 
1628.  Christopher,  who  may  have 
been  a  priest,  made  harpsichords,  but 
the  two  specimens  knovpn  in  1908  were 
undated. 

Buckfall.  Ger.  BACK-FALL  or 
GRACE. 

Siickpositiv.  Oer.  Back-choir 
organ. 

Euckung.     aer.    SYNCOPATED. 

BiUdersdorff  (Hermine)  sang  sop. 
in  opera  and  concert,  debut  in  the 
Leipsic  production  of  Mendelssohn's 
"  Lobsesang,"  June  25,  1840,  appear- 
ing as  "  Donna  Anna,"  "  Constance," 
"  Agatha,"  "  Fidelio,"  at  Drury  Lane, 
at  the  Boston  (Mass.)  festivals  of 
1871-72,  then,  settled  in  Boston  as 
teacher,  numbering  Emma  THURSBY 
and  others  among  her  pupils.  B.  Dec. 
12,  1822,  Ukraine;  daughter  of  Jo- 
seph, a  violinist;  m.  Prof.  Dr.  Kiiok- 
meister,  Frankfort,  1844;  was  the 
mother  of  Richard  Mansfield,  the  ac- 
tor;   d.  Feb.  26,  1882,  Boston. 

Euddigore.  Sir  Arthur  Sullivan's 
two-act  comic  opera,  to  book  by  W.  S. 
Gilbert,  was  first  performed  Jan.  22, 
1887,  at  the  London  Savoy  Theatre. 

Budhall  (Abraham)  was  famous 
as  a  bell  maker  in  Gloucester,  Eng. 


RUDOLPH 


573 


SXTKFORD 


His  business  was  carried  on  by  Abra- 
ham, Jr.,  b.  1657,  Gloucester;  d.  Jan. 
25,  1736,  Gloucester,  Abel,  Thomas, 
and  John,  and  by  1774,  the  house  had 
cast  3594  bells  for  English  churches. 

Kudolph  Johann.  Joseph  Banier 
(Archdtike  of  Austria)  was  the  pupil, 
friend,  and  patron  of  Beethoven;  pro- 
tector of  the  G«sellschaft  der  Musik- 
freunde;  composed  Forty  Variations 
to  a  Theme  by  Beethoven,  dedicated  to 
that  composer,  sonata  for  piano  and 
clarinet,  variations  on  a  theme  by  Ros- 
sini ;  became  Cardinal  Prince-Bishop  of 
Olmutz.  B.  Jan.  8,  1788,  Florence; 
son  of  Leopold  of  Tuscany  and  Maria 
Louisa  of  Spain;  d.  Jidy  24,  1831, 
Baden,  near  Vienna. 

Kudorfl  (Ernst  Eriedrich  Karl) 
composed  symphony  in  B  flat,  Op.  31; 
symphony  in  G  minor,  1891 ;  overtures, 
songs,  piano  music;  founded  the  Bach 
Verein,  1867,  while  professor  at  Co- 
logne Conservatory;  became  prof,  of 
piano,  Berlin  Hochschule,  1869;  con- 
ducted the  Stern  Singing  Society,  Ber- 
lin, 1880-90;  played  piano;  pupil  of 
Bargiel,  Clara  Wieck-Schumann ;  of 
Ries,  Hauptman,  and  Reinecke.  B. 
Jan.  18,  1840,  Berlin;    add.  Berlin. 

BiUeckauf  (Anton)  composed  the 
successful  opera,  "Die  Rosenthalerin," 
Dresden,  1897,  a  violin  sonata,  piano 
quintet,  five  Minnelieder  of  Walther 
von  der  Vogelweide;  played  piano; 
pupil  of  Prosch  Institute  and  Prague 
Organ  School.  B.  Mar.  13,  1855, 
Prague;  d.  Sept.  19,  1903,  Schloss  Alt- 
Erlaa. 

Kuegger  (Elsa)  played  'cello,  tour- 
ing Europe  and  America  in  concert; 
prize  pupil  of  Jacobs  and  Anna  Cam- 
powski  at  the  Lucerne  Conservatory 
at  13.  B.  Dec.  6,  1881,  Lucerne;  add. 
Lucerne. 

Bufer  (Philip  B.)  composed  the 
operas  "Merlin,"  Berlin,  1887;  "Ingo," 
1896;  three  overtures,  Symphony  in 
F;  conducted  at  Essen,  then  taught 
piano,  Stem,  Kullak,  and  Schwar- 
wenka  conservatories,  Berlin;  pupil 
LiSge  Conservatory.  B.  Li6ge,  1855; 
add.  Berlin. 

Buffo  (Vincenzo)  composed  masses 
and  other  church  music,  madrigals; 
was  chapelmaster  Verona  and  Milan 


cathedrals;  publications  dated  1539 
to  1592. 

Buggieri  (Francesco  11  Per)  made 
violins  at  Cremona,  and  was  the  father 
of  i,  family  of  instrument  makers.  Hia 
violins  were  dated  from  1668  to  1720. 
John  Baptist  '*  il  Buono  "  made  vio- 
lins; pupil  of  Nicholas  Amati;  was 
considered  the  best  workman  of  the 
family.  John  Baptist  made  violins 
1700  to  1725;  probably  son  and  pupil 
of  FRANCESCO.  Peter  made  violins 
1700  to  1720;  probably  son  and  pupil 
of  FRANCESCO.  Other  craftsmen  of 
the  name  were  Vincenzo  and  Ouido. 
Ruggieri  instruments  in  general  were 
modeled  on  the  Amati,  and  are  often 
sold  as  such. 

Buhepunkt,  Buhezeichen.  Oer. 
Pause. 

Buhig.  Oer.  Tranquil,  quiet, 
calm. 

Buins  of  Athens.  Ludwig  van 
Beethoven's  music  to  the  nachspiel  by 
Kotzebue  was  composed  for  the  open- 
ing of  a  new  theatre  in  Pest,  and 
consisted  of  an  overture  and  eight 
numbers. 

Bule.    Old  Eng.    A  line  of  the  staff. 

Bule,  Britannia!  Dr.  Arne's  music 
to  the  song  which  has  been  Great 
Britain's  "  political  hymn  "  was  first 
made  known  in  his  masque  "  Alfred," 
performed  at  Clifden  House,  Maiden- 
head, Aug.  1,  1740,  in  celebration  of 
the  accession  of  George  I  to  the 
throne.  The  authorship  of  the  music 
has  been  claimed  for  Mallet,  who  (with 
Thomson)  furnished  the  libretto,  and 
for  Handel,  but  apparently  without 
justification. 

Bule  of  the  Octave.  Rules  by 
which  harmonies  were  built  up  on  the 
tones  of  the  diatonic  scale,  each  of 
which  was  used  as  the  lowest  tone  in 
chords  of  simple  harmonies.  The  rule 
was  taught  as  a  formula  to  enable 
students  to  memorize  such  harmonies 
as  each  tone  was  capable  of. 

Bullante.  It.  "Rolling,"  aa 
Tamburo.    Drum  roll. 

Bumf ord  (B.  Kennerly)  sang  bar. 
r61es  in  London  concerts;  studied  in 
Frankfort,  Berlin,  Paris.  B.  Sept.  2, 
1871,  London;  m.  Clara  BUTT,  1900; 
add,  London. 


BUMMEI.                      574  RUST 

Kummel  (Christian  Franz  Frie-  that  tree,"  "Cheer,  boys,  cheer,"  and 
drich  Alexander)  composed  a  four-  other  popular  songs,  in  all  more  than 
hand  piano  sonata.  Op.  20;  for  mill-  800;  played  organ,  Eochester_,  N.  Y. 
tary  band  and  solo  clarinet ;  wrote  Pres.  church ;  wrote  "  L'amico  dei 
piano  method;  was  bandmaster,  clari-  cantati,"  a  book  on  singing;  and 
netist  and  pianist;  pupil  of  Abbg  "Cheer,  boys,  cheer,"  reminiscences; 
Vogler.  B.  Nov.  27,  1787,  Brichsen-  gave  entertainments  in  London  with 
stadt,  Bavaria;  d.  Feb.  13,  1849,  Wies-  Charles  Mackay;  pupil  of  Rossini  in 
baden.  Josephine  played  piano  to  Naples;  settled  for  a  time  in  Canada, 
the  court  of  Wiesbaden.  B.  May  12,  1833.  B.  Dec.  24,  1812,  Sheerness, 
1812,  Manzanares,  Spain;  daughter  Eng.;  d.  Dec.  8,  1900,  London, 
of  C.  F.  F.  A.,;  d.  Dec.  19,  1877.  Jo-  Kussell  (William)  composed  the 
seph  made  more  than  2000  arrange-  oratorios  "  Deliverance  of  Israel," 
ments  and  transcriptions  of  operas,  "Redemption,"  "Job";  a  mass  in 
etc.;  chapelmaster  to  Prince  von  C  minor,  20  dramatic  pieces  for  Sad- 
Oldenburg;  lived  in  Paris,  London,  ler's  Wells,  glees,  songs,  odes;  played 
Berlin.  B.  Oct.  6,  1818;  son  of  C.  F.  organ,  London  churches ;  pupil  of  Cope, 
F.  A.;  d.  London,  Mar.  25,  1880.  and  of  his  father,  an  organist  and 
Franziska  was  court  singer  at  Wies-  organ  builder.  B.  Oct.  6,  1777,  Lon- 
baden,  retiring  on  her  marriage  to  don;  d.  Nov.  21,  1813. 
Peter  Schott  the  publisher.  B.  Feb.  4,  Russian  I  Lioudmilla.  Michail 
1821,  Wiesbaden;  piipil  of  her  father,  Ivanovitch  Glinka's  five-act  Russian 
C.  F.  F.  A.  August  played  piano,  opera,  to  book  baaed  on  Pushkin's 
pupil  of  his  father,  C.  F.  F.  A.,  but  poem,  was  first  performed,  Nov.  27, 
went  into  trade  in  London.  B.  Jan.  1842,  at  St.  Petersburg. 
14,  1824;  d.  London,  Dec.  14,  1886.  Russian  Bassoon.  Military  instru- 
Franz  played  piano,  touring  Ainerica  ment  of  deep  pitch. 
and  Europe  successfully;  taught  at  Russian  Horn  Band.  Horn  players, 
Brussels  Conservatory,  where  he  had  each  of  whom  sounds  a  single  note, 
been  a  prize  pupil  under  Brassin,  later  Such  an  organization,  composed  of 
at  the  Stern  Conservatory,  Berlin,  serfs  on  the  estates  of  Prince  Narisch- 
B.  Jan.  11,  1853,  London;  son  of  kin,  numbering  37,  and  capable,  there- 
AUGUST;   d.  May  2,  1901,  Berlin.  fore,  of  a  range  of  three  octaves  with 

Run.     Scales  or  succession  of  notes  all  semitones,  was  drilled  four  years 

rapidly  played,  or  if  vocal  sung  to  one  by  the  Bohemian  J.  A.  Maresch,  and 

syllable;    ROULADE.  entertained     the     Russian     Imperial 

Runoiman   (John  F.)   wrote  bio-  Court,  1755. 

fraphical    study    of    Purcell;     "Old  Rust    (Friedrich   Wilhelm)    corn- 
cores  and  New  Readings " ;  criticism  posed   48    piano    sonatas,    variations, 
in  London  "Saturday  Review";    ed-  violin  solos,  including  a  D  minor  so- 
iled  "The   Chord,"   the   "Musicians'  nata  and  a  sonata  for  the  E  string, 
Library  " ;    correspondent  New  York  anticipating  that  of  Paganini ;  operas, 
Musical  Courier  and  Boston  "  Musical  church  music,  etc. ;    played  the  whole 
Record."    B.  1866,  Eng. ;  add.  London,  of  the  "  Wohltemperirtes  Clavier  "  at 
Rungenhagen     (Carl    Friedrich)  13;    pupil    of    his    brother,    Johann 
composed  four  operas,  three  oratorios,  Ludwig  Anton,  who  had  played  vio- 
chamber    music,    etc.;     waa    director  lin  under  J.  S.  Bach  at  Leipsic;    then 
Berlin    Singakademie.      B.    Sept.    27,  of  Friedmann  and  Emmanuel  Bach  for 
1778;    d.  Dec.  21,  1851,  Berlin.  composition    and    organ,    and   of   the 
Running.      Faint   sound   produced  Bendas,   Hoechke,   Tartini,  and   Pug- 
in  organ  by  air  escaping  from  defec-  nani  for  violin.    B.  July  6,  1739,  Wor- 
tive  pipes  or  valves.  litz,    Dessau;     m.    Henriette    Nied- 
Ruollo.       It.      "Roll";    Italian  hart,    the   singer   and   his   pupil;    d. 
dance  or  valse.  Mar.  28,  1796.    Wilhelm  Karl  taught 
Russell  (Henry)  composed  "  A  life  music ;    pupil  of  his  parents  FRIE- 
on  the  ocean  waves,"  "  Woodman  spare  DRICH  WILHELM  and  HENRIETTE 


BUSTICANO 


575 


SACCEINI 


NIEDHART,  and  of  TURK;  praised 
by  Beethoven  for  hia  interpretations 
of  Bach.  B.  April  29,  1787,  Dessau; 
d.  April  18,  1855,  Dessau.  Wilh.elm 
became  cantor  of  the  Leipsic  Thomas- 
schule,  1880,  in  succession  to  Richter; 
edited  many  works  for  the  Bach  Ge- 
sellschaft,  composed  33  works  for 
voice  and  piano;  played  violin,  piano, 
and  organ;  taught  theory,  Stem  Con- 
servatory, from  1870  until  his  ap- 
pointment, 1878,  as  organist  to  the 
Leipsic  Thomaskirche.  B.  Aug.  15, 
1822,  Dessau;  nephew  of  WILHELM 
KARL;   d.  May  2,  1892,  Leipsic. 

Rusticano,  Rustico.  It.  Rustic. 
_  Rutherford  (David)  published  mu- 
sic in  London  from  1745,  and  probably 
wrote  "The  Fiddle  remodel'd,"  etc.,  and 
"  The  art  of  playing  on  the  violin," 
which  he  issued  about  1750.  The  busi- 
ness was  continued  by  John  until 
about  1783. 

Rutscher.  Oer.  "  Slider ";  gallo- 
pade. 

Ruy  Bias.  Felix  Mendelssohn's 
overture  and  chorus  of  sops,  for  Vic- 
tor Hugo's  play  were  first  performed 
Mar.  11,  1839. 

Ryan  (IVEichael  Desmond)  wrote 
songs,  opera  books,  criticisms  for  many 
London  publications,  including  the 
"  Morning  Post,"  "  Morning  Chron- 
icle," "  Court  Chronicle,"  "  Morning 
Herald,"  and  the  "Standard."  B. 
Mar.  3,  1816;   d.  Dec.  8,  1868,  London. 

Rymour.  Old  Eng.  Minstrel  or 
bard.  

Rythm,     F.    RHYTHM. 

S.  is  the  abbreviation  of  Segno,  the 
sign  employed  in  NOTATION  to  indi- 
cate the  length  of  a  repeat;  SENZA, 
"without";  SINISTRA,  "left,"  as 
Manu,  with  the  left  hand;  SOLO, 
"  alone,"  as  Voce,  voice  alone ;  SOR- 
DINO "mute,"  or  damper  pedal; 
SUBITO,  "turn,"  as  Volti,  turnover 
quickly.  S.S.  means  "without  damp- 
ers or  mutes." 

Saar  (Louis  Victor  Franz)  taught 
theory  National  Conservatory  and 
College  of  Music,  New  York;  and  in 
1908,  Cincinnati  College  of  Music; 
composed  for  piano;    wrote  criticism; 


pupil  of  Rheinberger  and  Abel,  Mu- 
nich Conservatory,  later  of  Brahms; 
captured  Mendelssohn  composition 
prize,  1891,  with  piano  suite  and 
songs.  B.  Dec.  10,  1868,  Rotterdam; 
add.  Cincinnati. 

Sabbatinl  (Galeazzo)  composed 
"  Sacrae  Laudes,"  Venice,  1626,  mad- 
rigals, church  music;  wrote  on  theory 
"  Regola  facile  e  breve  per  sopra  il 
basso  continuo,"  etc.,  third  edition, 
Rome,  1669 ;  chapelmaster  of  Pesaro. 

Sahbatini  (Luigl  Antonio)  was 
chapelmaster  of  S.  Antonio,  Padua,  for 
23  years  from  1786,  during  which 
period  he  composed  much  excellent 
church  music;  wrote  "  Trattato  sopra 
le  fughe  musioali,"  etc.,  and  other 
works  on  theory;  Franciscan  monk 
and  in  earlier  life  chapelmaster  at 
SS.  Apostoli,  Rome.  B.  Albano  Lazi- 
ale,  1732;   d.  Jan.  29;  1809,  Padua. 

Sabbatini  (Pietro  Paolo)  com- 
posed church  music,  Villanelle ; 
taught,  was  chapelmaster  of  the 
"  Archiconfraternita  della  morte  et 
oratione  di  Roma,"  1628,  and  also  of 
the  church  of  S.  Luigi  de'  Francesi. 
B.  Rome. 

Sabeca.  Heh.  Probably  a  large 
harp,  although  translated  in  the  re- 
vised version  of  the  Bible  "  sackbut." 

Sabot.  Fr.  Stud  disk  in  double 
action  harps,  operated  by  pedal; 
fiddle. 

Saccade.  Fr.  Strong  pressure  of 
bow  by  which  several  strings  of  a  viol 
are  made  to  sound  together. 

Sacchini  (Antonio  Haria  Gas- 
pare) composed  the  opera  "  Oedipe  k 
Colone,"  performed  583  times  between 
1787  and  1844  at  the  Paris  Acad€miQ, 
and  first  performed  April  4,  1786j  at 
Versailles;  died  of  grief  because 
Queen  Marie  Antoinette  deltuyed  its 
promised  production  under  court  aus- 
pices. Son  of  a  Neapolitan  fisher- 
man, Sacchini  was  singing  one  day 
when  Durante  chanced  to  hear  him. 
Durante  had  him  entered  at  the  Con; 
servatory  di  San  Onofrio,  where  he 
studied  with  Niccolo  Forenza,  Gen- 
naro  Manna,  and  Durante  himself, 
producing  the  intermezzo  "Fra  Do- 
nato,"  while  yet  a  student.  In  176? 
he    composed    the    successful    opera 


SACHS 


576 


"  Semiramide "  for  the  Argentina 
Theatre,  Rome,  which  was  followed 
by  "Alessandro  nell  Indie,"  Venice, 
1769;  "Scipione  in  Cartagena," 
"  L'Eroe  cinese,"  Munich,  and  "  Cal- 
liroe,"  Stuttgart,  "  Cid,"  "Tamer- 
lane," "Lucio  Vero,"  and  "Nitetti  e 
Peraeo,"  London,  1773-74.  In  1782 
he  settled  in  Paris,  where  his  "Isola 
d'Amore"  (La  Colonic),  "Olimpi- 
ade,"  "Rinaldo,"  and  "Bardanus" 
were  presented.  In  all  he  composed 
more  than  40  operas,  21  sacred  works, 
including  masses,  oratorios,  two  sym- 
phonies in  D,  and  much  chamber  music. 
B.  July  23,  1734,  Pozzuoli;  d.  Oct.  7, 
1786,  Paris. 

Sacbs  (Hans)  composed  melodies; 
wrote  4000  poems,  1700  stories,  200 
dramatic  pieces;  was  chief  of  the 
MBISTERSINGERS,  and  the  cobbler 
hero  of  Wagner's  opera  of  that  name. 
B.  Nov.  5,  1494,  Nuremberg;  d.  Jan. 
19,  1576. 

Sackbut.  Ancient  instrument  with 
slide,  like  the  TROMBONE,  probably 
originating  in  Spain,  early  in  14th 
century,  although  believed  a  Roman 
invention.  The  instrument  called 
sackbut  in  the  English  Bible  was 
really  the  SABECA. 

Sackpfeife.     Ger.     BAGPIPE. 

Sacred  Harmonic  Society  was  an 
organization  of  British  amateurs 
founded  in  London,  1832,  and  gave 
concerts  and  oratorios  conducted  by 
Joseph  Surman  and  Sir  Michael  Costa, 
Sir  Charles  Halle,  and  W.  H.  Cum- 
mings,  finally  disbanding,  1888.  A 
valuable  library  had  been  accumu- 
lated, now  the  property  of  the  ROYAL 
COLLEGE  OF  MUSIC. 

Sacring  Bell.     SANCTUS  BELL. 

Sadlers  Wells  was  a  place  of  public 
entertainment  at  Pentonville,  London, 
from  1699,  at  which  many  open  air 
concerts  and  musical  entertainments 
of  a  lighter  order  were  given.  In  1908 
its  theatre  was  used  as  a  music  hall, 
or  for  "vaudeville  purposes." 

SafonofC  (Wassilly)  directed  the 
NATIONAL  CONSERVATORY  OF 
MUSIC  and  conducted  the  PHILHAR- 
MONIC SOCIETY,  New  York.  Pupil 
of  LESCHETIZKY  and  Zaremba,  he 
entered  the  St.  Petersburg  Conserva- 


SAIMTT-HXTBEBTY 

tory,  1881-85,  where  he  won  the  gold 
medal,  and  taught  at  Moscow,  where 
he  became  director  of  the  conserva- 
tory, 1889-90,  thereafter  devoting  him- 
self chiefly  to  conducting.  On  settling 
in  the  United  States,  he  abandoned 
the  use  of  the  baton,  conducting 
with  the  hands  only.  B.  Feb.  6,  1852, 
Istchery,  Russian  Caucasus;  add. 
New  York. 

Saint-Amans  (L.  Joseph)  com- 
posed dramatic  pieces;  conducted  at 
Brussels.  B.  1749,  Marseilles;  d. 
1820,  Paris. 

Saiut-Aubin  (Jeanne  Charlotte 
Schroeder)  became  a  favorite  singer 
at  the  Italian  opera  in  Paris;  debut 
as  child  actress  at  nine  before  Louis 
XV,  as  a  singer,  1786,  retiring  1808. 
B.  Dec.  9,  1764;  d.  Sept.  11,  1850, 
Paris.  Jean  Denis  composed;  played 
violin.  B.  1783,  Lyons;  son  of 
J.  C.  S;  d.  1810,  Paris.  Cecile  cre- 
ated many  roles  in  works  of  Nicolo 
Isouard;  at  iirst  an  actress,  later 
pupil  Paris  Conservatoire,  stage  name 
Mme.  Duret.  B.  1875,  Lyons,  daugh- 
ter of  J.  C.  S.;  retired,  1820.  Alex- 
andrine created  the  name  part  in 
Isouard's  "  Cendrillon,"  1810,  Theatre 
Feydeau,  Paris.  B.  1793,  Paris;  daugh- 
ter of  J.  C.  S. ;   retired  1812. 

Saint-Georges,  Marquis  de,  (Jules 
Henri  Vernoy)  wrote  120  opera  li- 
bretti, often  in  collaboration  with 
Hal^vy,  the  best-known  of  his  books 
still  in  repertoire  being  that  to  Doni- 
zetti's "  FILLE  DU  REGIMENT."  B. 
1801,  Paris;  d.  Paris,  Dec.  23, 
1875. 

Saint-Georges  ("  Chevalier  de  ") 
composed  and  played  violin.  B.  1745, 
Guadeloupe;    mulatto;    d.  about  1800. 

Saint-Huberty  (Antoinette  Ce- 
cile) sang  in  opera,  making  her  great- 
est success  in  the  name  part  of  Piccin- 
ni's  "  Didon."  She  secretly  married,  as 
her  powers  had  begun  to  wane,  Count 
d'Bntraigues,  Lausanne,  1790,  a  royal- 
ist who  was  imprisoned  for  his  ac- 
tivities in  Milan,  1797,  by  Napoleon 
Bonaparte.  In  some  manner  the  singer 
eflfeeted  her  husband's  release,  and  he 
acknowledged  her  as  his  wife,  while 
Louis  XVIII  gave  her  the  Order  of 
St,  Michel  for  her  service  in  rescuing 


SAINTON 


577 


ST.    FETEBSBUBG 


political  papers  belonging  to  her  hus-  III,  which  houses  class  rooms,  a  large 
band  at  the  same  time.  The  Count  and  musical  library,  a  large  and  smaller 
his  "wife  were  then  employed  a  while  concert  halls,  the  Glinka  and  Rub- 
in the  Russian  and  English  secret  ser-  instein  museums,  a  church,  offices, 
vice,  and  both  were  murdered,  July  22,  dining-rooms  for  pupils  and  dormi- 
1812,_at  Richmond,  by  their  servant,  tories  for  officials,  and  general  of- 
who  is  said  to  have  been  a  spy  em-  fices.  The  revenues  are  derived  from 
ployed  by  Fouch6,  French  minister  of  the  rental  of  the  concert  rooms, 
police.  B.  Toul,  about  1756;  daugh-  gifts  from  wealthy  patrons,  fees, 
ter  of  Clavel,  an  operatic  manager,  of    which    the    highest    is    250    rou- 

Sainton    (Prosper   Philip   Cath.e-  bles  per  annum,  and  an  allowance  of 

rine)  composed  two  concertos^and  other  15,000  per  annum  from  the  govern- 

violin  pieces;    played  violin,  touring  ment.    Music  is  taught  in  four  main 

Europe  with  success,  then  teaching  in  branches :    Piano  and  Organ ;   Orches- 

the  Toulouse  Conservatory,  and  after-  tral  Instruments;    Singing  and  The- 

wards     leading     at     Covent     Garden  ory,  including  a  class  of  "  chef  d'or- 

many  important  British  festivals,  and  chestre."     Theory,  Solfege,  Harmony, 

teaching.   Royal  Academy   of  Music;  Form,  History  of  Music,  Instrumen- 

pupil  of  the  Paris  Conservatoire  under  tation,  and  .Esthetics  are  obligatory 

Habeneck,  where  he  won  first  prize,  on  all  students,  and  there  are  special 

1834.     B.  June  5,  1813,  Toulouse;    d.  classes  in  Italian,  declamation,  plastic 

Oct.     17,     1890.      Charlotte    Helen  art,  scenery.     For  singers  a  study  of 

Dolby  sang  con.  with  much  success  the   anatomy  and  physiology  of  the 

in   concerts;     composed   the   cantatas  throat  is  obligatory.     There  are  two 

"  Legend  of  St.  Dorothea,"  "  Story  of  orchestras,  one  fot  concerts,  the  other 

the     Faithful     Soul,"     "  Florimel " ;  for  the   instruction  of  younger   stu- 

taught  singing;   pupil  Royal  Academy  dents,  a  choir,  and  several  classes  in 

of  Music.     B.  May  17,  1821,  London;  quartette  and  other  ensemble.    A  gym- 

m.  P.  P.  C,  1860;   d.  Feb.  18,  1885.  nasium  is  attached  to  the  Conserva- 

St.  Patrick's  Day  is  the  name  of  an  tory,  where  children  may  enter  at  nine 

Irish  melody  first  played,  so  far  as  and    acquire    the    general    education, 

history  relates,  by  Irish  pipers  at  the  without  which  no  diploma  can  be  won. 

Battle  of  Fontenoy,  May  11,  1745.    In  however  proficient  the  person  may  be 

1810  Moore  wrote  the  verses  begin-  in   music.     A   council   of    professors 

ning   "Tho'   dark   are   our   sorrows"  governs  the   Conservatory  and  elects 

to  this  tune,  which  was  published  the  the  director  for  a  term  of  three  years, 

following  year  in  the  fourth  number  The    students    annually    elect    their 

of  his  Irish  melodies.  "  magors,"  by  whom  they  are  in  direct 

St.  Petersburg  possesses  a  splendid  connection  with  the  director  and  in- 

opera   house,   where   performances   of  spector.      Participation   in   students' 

Italian  works  have  been  supplemented  recitals,  which  are  given  weekly,  and, 

within  the  past  few  years  by  many  like  the  examinations,  are  in  public, 

Russian  operas,  the  works  of  native  is  obligatory.    Diplomas  are  awarded 

composers;   is  the  seat  of  the  Russian  after  examinations,  and  there  are  gold 

Imperial  Musical  Society,   founded  and  silver  medals  and  a  piano  given 

by  Anton  Rubinstein,  which  controls  annually  by  Schoeder  in  memory  of 

all  music  institutions  of  the  official  Anton  Rubinstein.    In  1908  there  were 

class  in  Russia,   and  from   the   first  1200  students.  A.  C.  GLAZOUNOV  was 

had  members  of  the  Imperial  family  the  director,  S.  T.   Gabel,   inspector, 

among  its  governors.     Subject  to  the  N.  A.  Sokoloff,  secretary,  D.  K.  Djior- 

control   of   this   society   was   the   St.  gooly,  intendant,  A.  Fribus,  librarian; 

Petersburg    Conservatory,    founded  assistant  inspectors,  Abramicheflf,  Ku- 

by    Anton    Rubinstein,    1862.      Since  rotchkin.     The  faculty  then  consisted 

1896    this    institution    has    occupied  of:     Piano:     M.    Abramicheflf,    Mrs. 

the    building    on    Theatrical    Square  Benoit,  Mrs.  BarinoflF,  Boroflfka,  Brik, 

presented  by  the  Emperor  Alexander  Bistroflf,  Venzel,  Mrs.  Vengeroff,  Vin- 

37 


SAHTT-SAENS 


578 


SAINT-SAENS 


kler,  Gubizky,  Gelever,  Demiansky, 
Doobassoff,  Miss  Daugovett,  Mrs. 
Annette  ESSIPOFF,  Miss  Kalantaroff, 
Miss  Kuskoff,  Lavroflf,  Mrs.  Malose- 
moff,  Medem,  Minlashevsky,  Nosdrin, 
Poletica,  Miss  Ossovsky,  Mrs.  RosanofiF, 
Romanoff,  Miss  Sergeieff,  Mrs.  Zurmilh- 
len,  Stein,  Eckstein.  Organ:  Prof. 
Homilius.  Harp:  Mrs.  Walter-Kiihne, 
Mrs.  Zabel-Eashat.  Violin:  Mr.  Auer, 
Kolakovsky,  Kruger,  Nalbandian, 
Korguieff.  Viola:  Eeavezoff.  'Cello: 
Mr.  Verjbilowitsch,  Seifert,  Alois. 
Bass:  Jdanoff.  Flute:  Stepanoff. 
Oboe:  Schubert,  Gfedde.  Clarinet: 
Braker.  Bassoon:  Kotte.  Trum- 
pet: Gordon,  Johannson.  Born: 
Pojaroff,  Tamm.  Wind  Instruments : 
Amantink.  Trombone:  Turner,  Wolk- 
off.  Singing:  Mrs.  Irezky,  Zwanzi- 
ger,  Mrs.  Ferni-Giraldoni,  Mrs.  Gladky, 
Mrs.  Leschetizky,  Mrs.  Jerebzova-An- 
dreieff,  Gabel,  Ivanoff,  Smolensky,  Ee- 
drofl,  Choapronnikoff.  Scenery:  Pa- 
lecek.  Italian:  Signora  Cataliotti. 
Declamation:  Ridal.  Plastic:  Pres- 
niakoff.  Anatomy  and  physiology  of 
the  throat:  Dr.  Meittrowitach.  The- 
ory of  Composition:  RIMSKY-KOR- 
SAKOFF,  Solovieff,  Laidoff.  Oblig- 
atory Theory:  Sachetty,  Pusirevsky 
Petroff,  Vitol,  Sokoloff,  Kalafati,  Voi- 
acek,  Marenitsch.  Orchestral  and 
leading  class:  Tcherepnin.  Quar- 
tettes: Auer,  Verjbilowitsch,  Alois. 
Ensemble:  Verjbilowitsch,  Alois  Gla- 
zounow.     Choir:    Tcherepnin. 

Saint-Saens  (Charles  Camille) 
composed  the  sacred  opera  "  SAMSON 
ET  DELILA,"  frequently  sung  as  ora- 
torio. Suite  Algerienne  for  orchestra, 
the  symphonic  poems  "Le  Rouet 
d'Omphale,"  "Phaeton,"  "Danse  ma- 
cabre," "  La  jeunesse  d'Hercule,"  five 
symphonies;  played  organ  at  the 
Madeleine,  Paris,  1858-77;  taught, 
toured  as  piano  virtuoso;  wrote  on 
music.  At  five  Saint-Saens  could  play 
Grgty's  scores,  having  been  taught 
piano  from  infancy  by  his  grand- 
mother, and  at  seven  he  began  the 
study  of  piano  with  Stamaty  and  har- 
mony with  Maleden,  made  his  debut 
as  a  concert  pianist  at  11,  and  at  12 
was  enrolled  at  the  Paris  Conserva- 
toire, where  he  studied  with  Benoist 


and  Hal6vy.  At  16  the  Socifitfi  de 
Sainte  C6oile  produced  his  first  sym- 
phony. Two  years  later,  or  in  1853, 
he  became  organist  at  Saint-M6ry  and 
piano  teacher  at  Niedermeyer's  school. 
Thereafter  his  career  as  composer  and 
pianist  was  one  of  continued  success, 
his  frequent  tours  taking  him  to  all 
parts  of  Europe,  and  often  through 
Northern  Africa.  He  was  an  occa- 
sional contributor  to  "La  Renais- 
sance," "  L'Estafette,"  and  "  Le  Vol- 
taire," and  his  collected  essays  were 
published  as  "  Harmonie  et  Mglodie," 
Paris,  1885,  and  were  followed  by 
"  Essai  sur  lea  lyres  et  cithare  an- 
tique," 1902,  and  "  Portraits  et  Souve- 
nirs," 1903.  Commander  of  the  Le- 
gion of  Honor,  Dr.  Mus.  Ox.;  mem- 
ber of  the  Institut  since  1881,  he  was 
greatly  honoured  abroad,  and  his  gol- 
den jubilee  as  an  artist  was  celebrated 
publicly  in  Paris,  June  2,  1896.  Works 
to  be  noted  are:  symphony  in  E  flat. 
Op.  2 ;  Mass  for  soli,  choir,  organ,  and 
orchestra.  Op.  4;  Tantum  Ergo,  8- 
part,  choir  and  organ,  Op.  5;  Ora- 
torio de  NogI,  Op.  12;  quintet  in  A 
minor,  piano  and  strings.  Op.  14;  "  Les 
noces  de  Prom^thge,"  prize  cantata. 
International  Exhibition,  1867,  Op. 
19;  violin  concerto,  A  minor.  Op.  20; 
piano  concerto  in  G  minor.  Op.  22; 
introduction  and  rondo,  violin  and  or- 
chestra, Op.  28;  piano  concerto  in  B 
flat.  Op.  29 ;  the  opera  "  La  Princesae 
Jaune,"  Op6ra  Comique,  June  12, 1872; 
sonata  for  piano  and  'cello,  C  minor. 
Op.  32 ;  quartet  for  piano  and  strings, 
B  flat.  Op.  41;  Psalm  xix,  for  soli, 
choir,  and  orchestra.  Op.  42;  Allegro 
appassionato,  piano  and  'cello.  Op. 
43;  piano  concerto,  C  minor.  Op.  44; 
the  biblical  opera  "  Le  Deluge,"  Op. 
45;  "Les  Soldats  de  G6d6on,"  for 
double  male  chorus  a  capella.  Op.  46; 
requiem,  soli,  choir,  and  orchestra.  Op. 
54;  symphony,  A  minor.  Op.  55;  "La 
lyre  et  la  harpe,"  soli,  choir,  and  or- 
chestra. Op.  57;  violin  concerto  in  C, 
Op.  58;  violin  concerto  in  B  minor. 
Op.  61;  "Une  nuit  a  Lisbonne,"  bar- 
carolle for  orchestra,  Op.  63;  Jota 
Aragonese  for  orchestra,  Op.  64;  sep- 
tet for  piano  strings  and  trumpet.  Op. 
65;  "Hymne  a  Victor  Hugo,"  orches- 


SAIITT-SAENS 


579 


SALEZA 


tra  and  chorus,  Op.  69;  "Rhapsodie 
d'Auvergne,"  piano  and  orchestra,  Op. 
73 ;  "  Saltarelle,"  male  choir  a  capella. 
Op.  74;  sonata  for  violin  and  piano, 
D  minor,  Op.  75 ;  Wedding  cake  ca- 
price-valse  for  piano  and  strings.  Op. 
76;  polonaise,  two  pianos.  Op.  77; 
symphony  for  orchestra,  organ,  and 
4  hands,  piano,  C  minor.  Op.  78;  ca- 
price for  piano  and  wind  instruments, 
Danish  and  Russian  airs.  Op.  79; 
Souvenir  d'ltalie,  piano.  Op.  80;  Al- 
bumblatt  for  4  hands,  piano,  Op.  81; 
"  La  fiancSe  du  Timbalier  "  (v.  Hugo) , 
voice  and  orchestra.  Op.  82;  Hava- 
naise,  violin  and  piano.  Op.  83 ;  "  Les 
Guerriers,"  male  chorus  a  capella. 
Op.  84 ;  "  Les  cloches  du  soir,"  piano. 
Op.  85 ;  "  Pas  redouble,"  4  hands,  piano. 
Op.  86;  Scherzo  for  two  pianos.  Op. 
87;  Africa,  fantasie  for  piano  and 
orchestra,  Op.  88;  piano  suite,  Op. 
90;  Chant  saphique,  'cello  and  piano. 
Op.  91;  trio  for  piano  and  strings, 
E  minor.  Op.  92;  Sarabande  et  Rl- 
gaudon,  for  orchestra.  Op.  93 ;  Concert- 
stuck  for  horn.  Op.  94;  fantasie  for 
harp.  Op.  95;  Caprice  Arabe,  two 
pianos.  Op.  96;  Theme  varie  for 
piano.  Op.  97;  Hymne  a  Pallas 
Athene,  sop.  and  orchestra.  Op.  98; 
three  preludes  and  fugues  for  organ. 
Op.  99;  Souvenir  d'Ismailia,  piano, 
Op.  100 ;  Fantasie  for  organ.  Op.  101 ; 
sonata  for  violin  and  piano,  E  flat. 
Op.  102;  piano  concerto  in  F,  Op. 
103;  Valse  Mignonne,  piano.  Op.  104; 
Berceuse  for  4  hands,  piano.  Op.  105 ; 
25  motets,  songs,  and  part-songs;  Cor- 
onation march  for  King  Edward  VII ; 
the  operas  "Le  timbre  d' Argent,"  4 
acts.  Theatre  Lyrique,  Feb.  23,  1877; 
"  ^tienne  Marcel,"  4  acts,  Feb.  8,  1879, 
Lyons;  "  HENRI  VIII,"  Paris  Op6ra, 
Mar.  5,  1883;  "Proserpine,"  Op6ra 
Comique,  Mar.  16,  1887;  "Aseanio," 
Paris  Opera,  Mar.  21,  1890;  "Phryne," 
May,  1893;  "Fr6d6gonde"  (completed 
for  Guiraud),  1895;  "Les  Barbares," 
1901;  "Parysatis,"  Bgziers,  1902; 
"  Andromaque,"  1903;  "  H6l6ne,"  1 
act,  Monte  Carlo,  Feb.  18,  1904; 
"L'Ancgtre,"  Feb.  24,  1906,  Monte 
Carlo;  the  two-act  ballet,  "  Javotte," 
Lyons  and  Brussels,  1896;  incidental 
music    to     "Antigone,"    "  Dgjanire," 


and  "  Le  Malade  Imaginaire."  B.  Oct. 
9,  1835,  Paris;    add.  Paris. 

Saite.     Oer.    "  String." 

Saltenhalter.    Ger.    Tailpiece. 

Saiteninstrumeiit.  Qer.  Stringed 
instrument. 

Sala  (Nicola)  wrote  "  Regole  del 
contrappunto  prattico,"  3  vols.,  1794; 
composed  the  operas  "  Vologeso," 
"  Zenobia,"  "  Merope,"  the  oratorio 
"  Giuditta,"  and  church  music ;  pupil 
and  later  master  of  the  Conservatorio 
della  Pieta  de'  Turchini,  Naples.  B. 
1701,  Benevento,  Naples;  d.  1800, 
Naples. 

Salaman  (Charles  Kensington) 
helped  found  the  Musical  Society  of 
London,  of  which  he  was  secretary, 
1858-65,  and  the  Musical  Association, 
of  which  he  was  secretary  until  1877 ; 
composed  songs,  church  and  syna- 
gogue music;  taught,  lectured,  wrote 
on  music,  played  piano;  pupil  Royal 
Academy  of  Music.  B.  Mar.  3,  1814, 
London;    d.  June  23,  1901,  London. 

Salamanie.     Oriental  flute. 

Salammbo.  Ernest  Reyer's  three- 
act  opera,  to  book  by  Du  Locle,  was 
first  performed  Feb.  9,  1890,  at 
Brussels. 

Sale  (Frangois)  composed;  sang 
ten.,  Belgium,  16th  century. 

Sale  (John)  became  lay  clerk,  St. 
George's,  Windsor,  1766.  B.  Mar.  19, 
1734,  Gainsborough;  d.  Oct.  2,  1802, 
Windsor.  John  sang  bass.  Concert  of 
Ancient  Music,  30  years;  was  secre- 
tary of  Catch  Club  and  conductor  Glee 
Club,  for  both  of  which  he  composed; 
sang  St.  George's,  Windsor,  as  boy 
chorister,  later  gentleman  of  Eng. 
Chapel  Royal.  B.  1758,  London;  son 
of  JOHN;  d.  Nov.  11,  1827,  London. 
John  Bernard  sang  sop.  in  boyhood 
at  St.  George's,  Windsor,  later  bass, 
Eng.  Chapel  Royal,  of  which  he  be- 
came organist,  1838;  composed; 
taught  music  to  Princess  Victoria, 
1826.  B.  June  24,  1779,  Windsor; 
son  of  the  second  JOHN;  d.  Sept.  16, 
1856,  Westminster.  George  Charles 
became  organist,  St.  George's  Church, 
Hanover  Square,  London ;  pupil  of  his 
father,  the  second  JOHN.  B.  1796, 
Windsor;    d.  Jan.  23,  1869. 

Saleza  (Albert)  sang  ten.  in  opera. 


SALICIONAL 


580 


BA  SALO 


debut  Paris  Op6ra  Comique,  1888, 
later  in  Covent  Garden,  London, 
Metropolitan  Opera  House,  New  York, 
and  the  Paris  Op6ra;  prize  pupil, 
Paris  Conservatoire.  B.  1867,  Bruges, 
Beam;    add.  Paris. 

Salicioual,  Solciouell,  Salicet. 
Organ  stop  of  8-ft.  pitch  imitating  the 
willow  (salix)  pipe,  and  sometimes 
substituted  for  the  Dulciana. 

Salieri  (Antonio)  served  the  court 
of  Vienna  50  years  as  composer  and 
ohapelmaster ;  was  the  friend  of 
Haydn  and  Beethoven  and  teacher  of 
Schubert  and  Beethoven,  but  the 
enemy  of  Mozart,  whom  he  was 
wrongfully  said  to  have  poisoned; 
composed  the  highly  successful  opera 
buflfa  "  La  Grotto  di  Trofonio,"  Paris, 
1785,  "Axur,  Ee  d'Ormus"  ("Ta- 
rare"),  Paris,  1787,  and  in  all  two 
French,  37  Italian  and  four  German 
operas,  five  masses,  a  requiem,  "  La 
Passione  di  Gesfl  Cristo,"  and  other 
church  music.  In  early  life  a  protfigS 
of  Ohapelmaster  Gassmann,  who  took 
him  to  Vienna  and  paved  the  way  for 
his  success,  Salieri  repaid  this  kind- 
ness by  educating  Gassmann's  two 
daughters  for  the  stage.  For  the  24 
years  ending  1790  Salieri  was  con- 
ductor of  the  court  opera,  and  in  that 
capacity  visited  many  imperial  cities, 
winning  the  admiration  of  Gluck,  who 
suggested  him  as  the  composer  to  carry 
on  his  ideas  of  reform,  and  gained  him 
the  commission  to  compose  for  the 
Academic  de  Musique.  "Les  Dana- 
ides,"  the  first  work  produced  for 
Paris,  1784,  was  announced  as  the 
joint  composition  of  Gluck  and  Salieri, 
but  on  its  pronounced  success,  Gluck 
announced  that  the  credit  was  solely 
due  Salieri.  "Die  Neger,"  Vienna, 
1804,  was  Salieri's  last  dramatic 
work,  and  thereafter  he  devoted  him- 
self to  religious  and  instrumental 
compositions.  His  golden  jubilee  as 
a  Viennese  was  celebrated  in  1816, 
when  he  received  the  gold  medal  of 
honour  from  the  municipality.  For 
many  years  he  was  conductor  of  the 
Vienna  Tonkllnstler  Verein,  and  he 
aided  in  the  foundation  of  the  Vienna 
Conservatory.  B.  Legnago,  Verona, 
Aug.  19, 1750;  d.  May  7, 1825,  Vienna. 


Salii  were  priests  of  Mars  who 
sang  and  danced  in  procession  through 
the  streets  in  annual  festivals  hon- 
ouring their  god. 

Salimbene  (Era)  wrote  a  "  Cro- 
naca"  (diary)  giving  much  valuable 
information  on  music  and  musicians 
of  his  generation;  Minorite  monk  of 
Parma,  13th  century. 

Salmo.    It.    Psalm. 

Salmon  (Iffirs.  Eliza  Kunday) 
sang  sop.  in  English  festivals  and  con- 
certs; debut,  1803,  in  the  oratorios  of 
John  Ashley,  her  teacher,  until  1825, 
when  she  lost  her  voice  through  alco- 
holism. B.  1787,  Oxford;  m.  the  sec- 
ond JAMES,  Feb.  11,  1806;  on  his 
death  m.  Rev.  Mr.  Hinde;  d.  June  5, 
1849.  James  sang  Eng.  Chapel  Royal 
from  1789.  D.  1827.  James  played 
organ,  St.  Peter's,  Liverpool,  1805-13 ; 
m.  ELIZA  MUNDAY;  enlisted  in 
British  Army.  Son  and  pupil  of 
JAMES;  d.  West  Indies.  William 
sang  Eng.  Chapel  Royal.  B.  1789; 
son  of  JAMES,  SR. ;    d.  Jan.  26,  1858. 

Salmon  (Thomas)  invented  what 
he  considered  a  simplification  of  the 
clefs  in  NOTATION,  which  involved 
him  in  controversy  with  Matthew 
Lock;  lectured  and  wrote  on  music. 
B.  June  24,  1648,  Hackney;  d.  Mep- 
sal,   1706. 

Salo,  da  (Gaspare  di  Bertolotti) 
made  violins  in  Brescia  remarkable 
for  powerful  tone,  although  most  of 
those  still  extant  are  too  small  to  be  of 
practical  use,  tenors  and  doublebasses 
which  have  never  been  surpassed,  set 
the  model  for  GUARNERIUS  and 
other  famous  makers  of  later  years; 
taught  MAGGINI;  was  among  the 
first  instrument  makers  to  differen- 
tiate between  the  viol  and  violin  pat- 
terns. Son  of  the  painter  Francesco 
di  Bertolotti  and  grandson  of  a  lute 
maker,  Gasparo  probably  learned  his 
art  with  his  grandfather  and  the  viol 
maker,  Girolamo  Virehi.  His  instru- 
ments are  not  dated,  but  in  1568  he 
opened  his  first  shop  in  Brescia,  and 
soon  commanded  high  prices.  Cardi- 
nal Aldobrandini  paid  him  3000  ducats 
for  the  famous  violin  having  an  angel's 
face  as  its  head,  carved  by  Benvenuto 
Cellini,  which  became  the  property  of 


SALOME 


581 


SAMARA 


Ole  Bull,  1841.  Gasparo,  toward  the 
close  of  his  career,  called  himself 
"  magister  instrumentorum  musica," 
and  by  the  close  of  the  15th  century 
had  accumulated  a  large  fortune.  B. 
about  1542;  d.  April  14,  1609,  Bres- 
cia. Francesco  made  violins;  pupil 
and  successor  of  his  father,  Gasparo, 
but  may  have  sold  the  business  to 
Maggini.  B.  1565,  Brescia;  d.  after 
1614. 

Salome.  Richard  Strauss's  opera 
to  the  text  of  Oscar  Wilde's  French 
play  of  the  same  name,  was  first  per- 
formed Dec.  9,  1905,  at  Dresden.  In 
1907  it  was  presented  by  Heinrich  von 
Conried  at  the  Metropolitan  Opera 
House,  New  York,  but  he  was  com- 
pelled to  withdraw  it  by  the  owners 
of  the  house  after  the  first  perform- 
ance, on  moral  grounds.  The  text 
was  the  obscene  production  of  a  de- 
cadent genius,  and  morbidly  imagina- 
tive rather  than  biblical. 

Salome  (Theodore  Cesar)  played 
organ  in  Paris  churches;  was  chapel- 
master  at  the  Lyefie  St.-Iiouis;  taught 
solfege  at  the  Paris  Conservatoire, 
where  he  won  the  Prix  de  Rome,  1861 ; 
composed  organ  and  orchestral  works. 
B.  Jan.  20,  1834,  Paris;  d.  1896,  Saint 
Germain-en-Laye. 

Salomon  (Johann  Feter)  sug- 
gested to  Haydn  the  composition  of 
"  The  Creation  ";  composed  the  opera 
"  Windsor  Castle  "  for  the  wedding  of 
the  Prince  of  Wales,  April  8,  1795; 
played  violin  admirably  both  as  soloist 
and  in  quartettes.  In  early  life  a  vio- 
linist in  the  Electoral  Orchestra  at 
Bonn,  Salomon  became  a  favourite  in 
Paris,  London,  and  Dublin,  and  led 
at  many  important  festivals  and  con- 
certs. He  was  intimate  with  Haydn, 
whose  later  string  quartets  were  com- 
posed to  suit  his  technique,  and  after 
much  correspondence,  induced  Haydn 
to  visit  London  in  1791  and  1794, 
which  events  proved  his  greatest  artis- 
tic triumph  and  were  responsible  for 
the  Salomon  Series  of  Haydn's  sym- 
phonies. B.  1745,  Bonn;  d.  Nov.  25, 
1815,  London. 

Saltando.  It.  "Dancing,"  as 
Arco,  with  a  skipping  bow. 

Saltarello.     It.    Dance  with  skip- 


ping steps,  like  the  Jig;  Harpsichord 
jack;  COUNTERPOINT  having  six 
quavers  in  the  counterpoint  to  each 
minum  of  the  Cantus  Firmus. 

Salterio.    It.    Thie  Psalter. 

Salto.  It.  Leaping  or  skipping 
dance;  COUNTERPOINT,  in  which 
voices  added  to  the  Cantus  Firmua 
move  in  skips ;  progression  at  the  in- 
terval of  more  than  an  octave. 

Salvare.    It.    To  resolve. 

Salvayxe  (Gaston  Oervais  Ber- 
nard) composed  the  operas  "Le  Bravo," 
1877,  Paris  Theatre  Lyrique,  "Rich- 
ard III,"  St.  Petersburg,  1883;  "  Eg- 
mont,"  Paris  Op6ra  Comique,  1886; 
"  La  Dame  de  Monsoreau,"  Paris 
Op6ra,  1888;  the  sacred  symphony 
known  as  "  Le  Jugement  dernier," 
"  La  Resurrection,"  and  "  La  Vallfie 
de  Josaphat ";  a  Stabat  Mater,  Psalm 
cxii  for  soli,  chorus,  and  orchestra,  an 
"  Ouverture  symphonique,"  the  ballets 
"  Amours  du  Diable "  and  "  Fan- 
dango." Pupil  of  the  maitrise  of  Tou- 
louse Cathedral,  and  later  of  Toulouse 
Conservatory,  he  studied  at  the  Paris 
Conservatoire  with  Ambroise  Thomas 
and  Benoist  and  Bazin,  captured  the 
Prix  de  Rome,  1872,  with  the  cantata 
"  Calypso,"  and  on  his  returning  to 
Paris  served  as  chorus  master  in  vari- 
ous theatres.  He  wrote  music  criti- 
cism for  "  Gil  Bias,"  and  in  1880  was 
made  chevalier  of  the  Legion  of  Honor. 
B.  June  24,  1847,  Toulouse;  add. 
Paris. 

Salve Beg^na.  Lat.  "Hail Queen," 
the  name  of  a  hymn  to  the  Virgin 
Mary.  The  authorship  of  words  and 
music  is  generally  ascribed  to  Her- 
mann Contractus,  a  monk  of  St.  Gall, 
who  lived  1013-54,  and  is  also  sup- 
posed to  have  written  the  Alma  Re- 
demptoris  Mater.  Palestrina  com- 
posed a  famous  setting  of  this  anti- 
phon. 

Samara  (Spiro)  composed  the 
operas  "  Flora  Mirabilis,"  May  16, 
1886,  Teatro  Carcano,  Milan;  "Medge," 
1888,  Rome;  "La  Martire,"  1894,  Na- 
ples ;  "La  Furia  Domata,"  1895,  Milan ; 
"  Histoire  d'amour,"  1902,  Paris;  and 
the  successful  "Mile,  de  Belle  Isle," 
1905;  pupil  of  Stancampiano,  Athena, 
later   of   Paris   Conservatoire,  under 


SAMBTTCISTRIA 


582 


SAN   CARLO 


Delibes.  B.  Nov.  29,  1861,  Corfu;  add. 
Rome. 

Sambucistria.  Lat.  A  SAM- 
BUKA  player. 

Sambuka.  Ctr.  The  term  applied 
to  a  large  Asiatic  harp.  The  Biblical 
reference,  "  Sabeca "  or  "  Sackbut," 
Daniel  iii,  5,  7,  10,  15,  is  probably  a 
Sambuka. 

Sammartini  or  San  IVIartini  (Giu- 
seppe) composed  concertos  and  so- 
natas for  flute  and  violin,  overtures, 
concerti  grossi,  a  once  popular  min- 
uet; played  oboe  in  London  opera 
under  Bononeini;  then  became  direc- 
tor of  chamber  music  to  the  Prince  of 
Wales ;  called  "  St.  Martini  of  Lon- 
don." B.  Milan  about  1693 ;  d.  about 
1740.  Giovanni  Battista  composed 
six  sonatas  for  two  violins  and  bass, 
London,  1746;  church  music,  sympho- 
nies, etc.;  chapelmaster  of  Milan 
churches ;  called  St.  Martini  of  Milan 
to  distinguish  him  from  his  brother, 
GIUSEPPE.  B.  about  1705,  Milan; 
d.  about  1775,  Milan. 

Sampogna  or  Zampogna.  BAG- 
PIPE. 

Samson.  George  Frederic  Handel's 
oratorio,  to  book  by  Hamiltdn,  founded 
on  Milton's  "  Samson  Agonistes,"  etc., 
was  first  performed  during  Lent,  1743, 
at  Covent  Garden,  London,  although 
begvin  in  1741,  and  completed  the  fol- 
lowing year. 

Samson  et  Delila.  Camille  Saint- 
Sa6ns'  three-act  biblical  opera,  to  book 
by  Ferdinand  Lemaire,  was  first  per- 
formed Dec.  2,  1877,  at  Weimar,  under 
the  direction  of  Liszt,  and  is  best 
known  in  the  United  States  and  Eng- 
land as  an  oratorio.  The  original  cast 
included  Samson,  Ferenczy;  Delila, 
Von  Muller;  High  Priest,  Mitle.  An 
elaborate  production  took  place  at  the 
Paris  Op6ra,  1897.  The  action  opens 
in  a  public  square  in  Gaza,  where  the 
Jews  are  bewailing  their  misfortunes, 
and  Samson  endeavours  to  comfort 
them,  and  urges  them  to  prayer.  The 
satrap  of  Gaza,  Abimeleeh,  mocks  at 
the  devotion  of  the  Jews,  Samson  de- 
nounces him,  calls  his  people  to  arms, 
and  when  he  is  attacked  by  Abimeleeh, 
tears  the  satrap's  sword  from  his 
hands,  and  kills  him.    The  Philistines 


attack  the  Jews,  but,  thanks  to  Sam- 
son's leadership,  they  are  repulsed. 
The  scene  changes  to  the  temple  of 
Dagon,  where  Abimelech's  body  is  re- 
posing in  state.  The  High  Priest 
urges  the  Philistines  to  attack  the 
Jews,  but  a  messenger  announces  that 
under  Samson's  leadership  they  are 
approaching  to  begin  hostilities  them- 
selves. The  High  Priest  curses  the 
Jews  and  Samson.  Abimelech's  body 
is  carried  away,  and  the  Jews  enter, 
headed  by  Samson,  singing  songs  of 
victory.  Then  comes  the  dance  of  the 
priestesses  of  Dagon,  in  which  Delila 
begins  to  weave  her  spell  over  the 
Jewish  hero.  The  second  act  trans- 
pires in  front  of  Delila's  house.  She 
invokes  the  aid  of  the  love  god  in 
overcoming  Samson,  and  when  the 
High  Priest  has  told  her  of  the  de- 
feat of  the  Philistines,  is  strengthened 
in  her  determination  to  enthrall  the 
Jewish  leader.  Samson  and  Delila 
are  together  in  the  next  scene.  As 
Samson  declares  his  love,  a  storm 
breaks.  Samson  follows  the  temp- 
tress into  her  house,  and  Philistine 
soldiers  are  seen  approaching.  The 
third  act  reveals  Samson,  shorn  of 
hair  and  blinded,  working  in  a  mill. 
The  wailing  of  the  other  Jewish  cap- 
tives dies  away  as  Samson  bemoans 
his  blindness.  The  scene  shifts  to  the 
temple  of  Dagon,  where  the  High 
Priest  and  the  Philistines  are  celebrat- 
ing their  triumph  over  the  Jews.  De- 
lila and  the  priestesses  are  dancing. 
Samson  is  led  in,  and  is  mocked  by 
the  High  Priest,  who  tells  him  that  if 
Jehovah  can  make  him  see,  the  Phil- 
istines will  join  in  adoration  of  the 
Jew's  divinity.  Samson  is  then  or- 
dered to  offer  a  sacrifice  to  Dagon. 
A  boy  places  him  between  the  pillars 
which  support  the  temple.  The  Jew- 
ish leader  raises  his  voice  in  prayer, 
then,  with  a  mighty  tug,  breaks  the 
two  pillars,  and  the  wreck  of  the 
temple  overwhelms  him  and  his  ene- 
mies alike. 

San  Carlo  Theatre,  Naples,  the 
foremost  opera  house  of  the  world 
during  the  administration  of  BAR- 
BAJA,  1810-39,  shared  with  the 
SCALA    .the     distinction     of     being 


SAITCHO 


583 


SANTOBAL 


Italy's  best  opera  house  in  1908.  The 
present  building,  which  dates  from 
1816,  was  remodeled  in  1844,  and 
has  a  seating  capacity  of  about  3500. 
The  first  structure,  erected  in  1737 
on  the  plans  of  General  Medrano,  was 
improved  by  a  later  generation  under 
the  direction  of  Nicolini  and  Fuga, 
but  was  burned  in  1816. 

Sanch.0.  Instrument  resembling  a 
guitar,  built  of  hollowed  wood,  with 
a  long  neck.  Tough  fibres  are  used 
for  the  strings  and  the  tuning  is  done 
with  sliding  rings. 

Sanctus.  Lat.  "Holy."  Hymn 
based  on  Isaiah  vi,  3  and  Matt,  xxi, 
9,  which  forms  an  integral  part  of  the 
MASS,  and  of  the  communion  ser- 
vices of  the  Anglican  and  most  Prot- 
estant churches  as  well.  Of  the  thou- 
sands of  settings,  those  of  Palestrina 
for  the  Roman  Catholic,  and  those 
of  Bach  for  the  Protestant  services 
are  at  once  the  most  beautiful  and 
devotional. 

Sanctus  Bell,  or  Saints'  Bell. 
Bell  used  to  mark  the  progress  of 
the  MASS,  and  sometimes  placed 
outside  the  church  for  the  benefit  of 
those  who  are  imable  to  attend  the 
service. 

Sanderson  (Tames)  composed 
songs  and  much  dramatic  music  while 
composer  and  music  director  at  the 
Surrey  Theatre,  London;  played  vio- 
lin. B.  1769,  Workington,  Durham; 
d.  1841. 

Sanderson  (Sibyl)  sang  sop.  in 
opera,  debut  at  Paris  Op6ra  Comique, 
1889;  continuing  thereafter  in  Paris, 
Covent  Garden,  and  Metropolitan  Op- 
era House,  New  York;  pupil  of  de 
la  Grange  and  Massenet.  _  B.  1865, 
Sacramento,  Cal. ;    add.  Paris. 

Sandoni.     CUZZONI. 

Sandys  (William)  edited  "  Christ- 
mas Carols,  Ancient  and  Modern," 
1833;  wrote  on  music.  B.  1792;  d. 
1874,  Eng. 

Sanf t.  Ger.  "  Soft,"  as  Stimmen, 
"voices,"  soft  stops. 

Sankey  (Ira  David)  composed 
"The  Ninety  and  Nine"  and  other 
hymns  which  attained  great  popular- 
ity at  the  revival  meetings  at  which 
the  late  Dwight  L.  Moody  preached 


and  Sankey  sang.  The  Moody  and 
Sankey  hymnals  in  which  all  of  his 
original  sacred  music  was  printed, 
attained  the  largest  circulation  of 
any  similar  modern  publication.  B. 
Edinburg,  Lawrence  County,  Pa.,  Aug. 
28,  1840;  d.  Aug.  13,  1908,  Brooklyn, 
New  York. 

Sans.  Fr.  "  Without,"  as  Fedales, 
without  pedals. 

Santa  Chiara.  The  Duke  of  Saxe- 
Coburg-Gotha's  three-act  opera,  to 
book  by  Mme.  Birch  Pfeifler,  was  first 
performed  Oct.  15,  1854,  at  Gotha; 
later  at  the  Paris  Op^ra,  and  at  Co- 
vent  Garden,  London. 

Santini  (Fortunate)  composed  an 
eight-part  requiem  and  other  church 
music;  collected  valuable  musical  li- 
brary now  in  the  episcopal  residence, 
Munster;  ordained  priest  at  Rome, 
1801,  he  devoted  the  greater  part  of 
his  life  to  scoring  and  copying  church 
music;  was  the  friend  of  Mendels- 
sohn and  of  all  who  were  interested 
in  his  field  of  specialization.  B.  Jan. 
5,  1778,  Rome;    d.  1862. 

Santley  (Sir  Charles)  composed 
mass  in  A  flat,  an  Ave  Maria,  ber- 
ceuse for  orchestra;  was  the  most 
noted  English  concert  and  opera  bar. 
of  his  generation,  debut  in  Milan, 
1855,  thereafter  appearing  at  most 
of  the  important  festivals  in  England 
and  America,  excelling  in  "  Elijah " 
and  "The  Redemption,"  and  in  the 
name  part  of  the  "  Flying  Dutch- 
man" (English  production);  knight 
commander  of  St.  Gregory  the  Great, 
and  knighted  by  King  Edward,  1907, 
in  which  year  he  celebrated  his  fifti- 
eth anniversary  as  an  artist  in  Eng- 
land; in  early  life  a  chorister,  and 
later  pupil  of  Gaetano  Nava,  Milan, 
and  of  Manuel  Garcia,  London.  B. 
Feb.  28,  1834,  Liverpool;  add.  Lon- 
don. Gertrude  Kemble  sang  sop., 
but  retired  on  her  marriage  to 
CHARLES,  April  9,  1859.  Grand- 
daughter of  Charles  Kemble;  d.  1882. 
Edith  sang  sop.  in  concert,  but  re- 
tired on  her  marriage  with  the  Hon. 
R.  H.  Lyttleton,  1884;  daughter  of 
CHARLES. 

Santoral.  Sp.  An  ecclesiastical 
choir  book. 


SAFHO 


584 


SAKTI 


Sapho  or  Sappho.  Jules  Masse- 
net's five-act  opera,  to  book  by  Cain 
and  Bernede,  was  first  performed  Nov. 
27,  1897,  at  the  Paris  Op6ra  Comique. 
Charles  F.  Gounod's  three-act  opera, 
to  book  by  Bmile  Augier,  was  first 
performed  April  16,  1851,  at  the  Paris 
OpSra,  later  given  in  Italian,  and  in 
1884,  expanded  to  four  acts,  was  well 
received  at  the  Paris  Opfira.  Gio- 
vanni Pacini's  three-act  opera,  to  book 
by  Cammarano,  was  first  performed 
Nov.  27,  1840,  at  Naples. 

Saquebute.    Fr.    SACKBUT. 

Saraband.  Old  Eng.  Spanish 
dance  originating  with  the  Moors,  in 
3-4  time,  strongly  accented  on  the 
second  beat.  Formerly  it  was  ac- 
companied with  singing  of  an  inferior 
sort  of  poetry.  Later,  the  dancer 
used  the  castanets.  Bach,  Handel, 
Scarlatti  and  Purcell  used  the  Sara- 
band as  a  movement  in  suites  for  the 
clavichord  or  harpsichord. 

Sarasate  y  ITavascues  Sarasate, 
de  (Fablo  Hartin  Meliton)  com- 
posed "  Zigeunerweisen "  for  violin 
and  orchestra,  "  Jota  Aragonesa,"  four 
books  of  highly  popular  Spanish 
dances  and  many  romances  and  fan- 
tasies for  violin;  became  one  of  the 
greatest  of  recent  violinists.  Prize 
pupil  of  the  Paris  .  Conservatoire, 
where  he  was  violin  pupil  of  Alard 
and  of  Reber  in  harmony,  he  began 
his  concert  tours,  which  were  extended 
to  all  parts  of  the  world,  at  26.  In 
boyhood  he  was  presented  with  a  fine 
Stradivarius  by  Queen  Isabella  of 
Spain,  and  he  had  always  been  an 
especial  favourite  with  his  country- 
men, an  annual  fete  being  held  in  his 
honour  at  Pampeluna.  Lalo's  first 
concerto,  Bruch's  second  concerto  and 
"  Scotch  Fantasia  "  and  Mackenzie's 
"  Pibroch  suite "  were  all  composed 
for  this  artist.  B.  Mar.  10,  1844, 
Pampeluna,  Spain;  d.  Sept.  21,  1908. 

Saroh.     Indian  bow  instrument. 

Sarrette  (Bernard)  founded  the 
school  for  national  guard  bands  from 
which  he  developed  the  Paris  Conser- 
vatoire, of  which  institution  he  was 
the  first  director.  B.  1765,  Bordeaux; 
d.  1858,  Paris. 

Sarti     (Giuseppe)     composed     40 


operas  once  highly  popular,  masses, 
some  of  which  are  still  performed; 
invented  a  machine  for  counting  the 
vibrations  of  sounds  and  fixed  a'  at 
435  vibrations,  foreshadowing  mod- 
ern PITCH;  founded  a  conservatory 
of  music  in  St.  Petersburg  on  Italian 
models,  1793;  was  highly  successful 
chapelmaster,  but  was  able  to  "  dis- 
cover" barbarisms  in  Mozart's  quar- 
tets, "  19  mortal  errors  in  36  bars!  " 
Pupil  of  Vallotti  or  Padre  Martini, 
Sarti  was  organist  of  Faenza  Cathe- 
dral, 1748-50,  and  director  of  the  the- 
atre there  for  the  next  two  years. 
"  Pompeo  in  Armenia,"  his  first  opera, 
was  well  received  in  Faenza,  and  "  II 
Re  Pastore,"  Venice,  1753,  was  a  pro- 
nounced success,  and  won  him  his 
appointment  as  director  of  the  Italian 
opera  at  Copenhagen,  where  he  was 
soon  chapelmaster.  During  a  sojourn 
in  Italy  he  composed  "  I  Contratempi " 
and  "  Didone  abbandonata,"  Venice, 
1767,  and  three  other  operas,  then 
returned  to  Denmark,  but  was  ban- 
ished as  a  result  of  court  intrigues, 
1772.  He  directed  the  Venice  Con- 
servatorio  dell'  Ospedaletto,  1775-79, 
then  became  chapelmaster  of  Milan 
Cathedral,  where  Cherubini  was  first 
his  pupil,  then  his  assistant,  and 
where  he  composed  much  church  mu- 
sic, cantatas,  and  the  operas  "Le 
Gelosie  villane "  and  "  Farnace," 
1776,  Venice;  "Achille  in  Sciro," 
1779,  Florence;  "  Giulio  Sabino," 
1781,  Venice;  "  Fra  i  due  Litiganti," 
Milan,  1782.  In  1784  he  accepted 
the  post  of  chapelmaster  at  the  court 
of  St.  Petersburgh,  had  his  last  named 
opera  produced  at  the  imperial  opera, 
Vienna,  while  passing  through  that 
capital,  where  he  was  received  by  the 
Emperor  and  became  acquainted  with 
Mozart.  Catherine  II  raised  him  to 
the  nobility,  had  him  compose  her 
opera  libretto  "  Olega,"  but  for  a  time 
banished  him  to  the  Ukraine.  While 
there  he  founded  a  music  school.  Soon 
restored  to  the  imperial  favour,  he 
remained  in  Russia  until  1802,  his 
compositions  including  the  highly 
successful  opera  "Armida,"  a  Te 
Deum  on  Potemkin's  capture  of  Otch- 
akow,   introducing   cannon  and  fire- 


SABTOKIO 


585 


SAVAGE 


works,  an  oratorio  for  two  choirs, 
full  orchestra  and  RUSSIAN  HORN 
band,  and  a  requiem  for  Louis  XVI. 
On  leaving  Russia,  Sarti  settled  in 
Berlin,  where  his  daughter  became 
the  wife  of  the  Chapelmaster  Mua- 
sini,  and  shortly  after  this  event,  the 
older  musician  was  seized  with  a  fa- 
tal attack  of  gout.  B.  Dec.  1,  1729, 
Faenza;    d.  July  28,  1802,  Berlin. 

Sartorio  (Antonio)  composed  and 
conducted  dramatic  music.  B.  about 
1620,  Venice;    d.  about  1681,  Venice. 

Satanella.  Michael  William 
Balfe's  four-act  romantic  opera,  to 
book  by  Harris  and  Falconer,  based 
on  "  Le  diable  boiteux "  of  LeSage, 
was  first  performed  Dec.  20,  1858,  at 
Covent  Garden,  London. 

Sattel.    Ger.    NUT. 

Satz.  Oer.  Selection;  composi- 
tion;   THEME. 

Sauer  (Emll)  composed  a  suite 
moderne,  concerto  in  E  minor  and 
other  piano  music;  toured  Europe 
and  America  as  piano  virtuoso  and 
taught  Vienna  Conservatory,  1901-7; 
wrote  "Meine  Welt,"  1901;  pupil  of 
N.  Rubinstein,  Moscow,  later  of  Liszt 
and  Deppe.  B.  Oct.  8,  1862,  Ham- 
burg;   add.  Dresden. 

Saul.  George  Frederic  Handel's  or- 
atorio containing  the  famous  Dead 
March  was  first  performed  Jan.  16, 
1739,  at  the  King's  Theatre,  London, 
and  was  composed  between  July  23 
and  Aug.  28,  1738,  to  words  by  Jen- 
nens  or  Morell. 

Sauret  (Emile)  composed  concerto 
for  violin  and  orchestra  in  E  major, 
concerto  in  G  minor.  Ballade,  Legende, 
Serenade  in  G,  Valse  caprice,  Bar- 
caroUe-mazourka,  scherzo  fantastique 
and  many  transcriptions  for  violin, 
as  well  as  etudes,  and  a  "  Gradus  ad 
Parnassum  du  Violiniste,"  Leipsic, 
1894;  played  violin  in  virtuoso  tours 
of  Europe  and  America;  taught  Kul- 
lah's  Academy,  Berlin;  Royal  Acad- 
emy of  Music,  London;  Chicago  Col- 
lege of  Music,  1903-6;  pupil  of  De 
Beriot,  Paris  and  Brussels  Conserva- 
toires, and  of  Jadassohn  in  composi- 
tion; debut  at  eight,  first  American 
tour  1872.  B.  May  22,  1852,  Dun- 
le-Roi,   France;    m.   TERESA   CAR- 


RENO,  1872;  divorced  and  m.  Emma 
Hotter,   1879;    add.  Geneva. 

Sauter  (Severin  S.)  conducted  and 
taught  music,  St.  Louis,  Mo.  B.  1822, 
Germany ;  exiled  and  settled  in  Amer- 
ica, 1848. 

Santereau.  Fr.  Hopper  or  jack 
attached  to  the  keys  of  a  spinet. 

Sauterie.  Old  Eng.  DULCIMER; 
PSALTERY. 

Sautillg.  Fr.  Springing  bow,  in- 
dicated in  violin  score  by  dots  over 
the  notes. 

Sauzay  (Charles  Eugene)  taught 
violin  with  distinction  at  the  Paris 
Conservatoire,  where  he  had  been 
prize  pupil  under  Baillot  and  Reicha; 
played  in  Baillot's  quartette  and 
founded  his  own  on  the  dissolution 
of  the  older  organization;  was  court 
musician  to  Louis  Philippe  and  Na- 
poleon III;  composed  songs,  chamber 
and  incidental  music ;  wrote  "  Haydn, 
Mozart,  Beethoven,  Etude  sur  la  quar- 
tuor,"  Paris,  1861;  "L'ecole  de  I'ae- 
compagnement."  B.  July  14,  1809, 
Paris;  m.  daughter  of  BAILLOT;  d. 
Jan.  24,  1901. 

Savage  (Henry  W.)  made  the  first 
English  productions  of  "Parsifal," 
"  Mme.  Butterfiy,"  and  for  many 
years  gave  excellent  performances  of 
serious  opera  in  English,  but  in  1907 
devoted  himself  exclusively  to  such 
musical  productions  as  "The  Merry 
Widow,"  "  The  Prince  of  Pilsen,"  etc., 
and  such  plays  as  "The  College 
Widow,"  "The  County  Chairman," 
and  "The  Devil"  (Aug.,  1908).  Ori- 
ginally a  real  estate  speculator  in 
Boston,  it  fell  to  him  in  the  ordinary 
course  of  affairs  to  complete  the 
Castle  Square  Theatre  in  that  city, 
1895,  and  when  the  manager  made  a 
failure  in  business  after  the  first  sea- 
son, he  undertook  to  supply  attrac- 
tions himself,  and  was  at  once  suc- 
cessful as  a  manager.  Then  he  es- 
tablished the  Castle  Square  opera  com- 
pany for  the  production  of  the  best 
works  in  English,  and  toured  the 
country  successfully  and  during  one 
season  played  at  the  Metropolitan 
Opera  House.  Rigid  discipline  com- 
bined with  the  enthusiasm  of  the 
young  artists  he  chose,  enabled  him 


SAVAGE 


586 


SAX    HORN 


to  attain  a  higher  perfection  in  en- 
semble than  his  powerful  rival  Von 
CONMED,  but  the  difficulty  of  find- 
ing suitable  theatres  for  opera  led  to 
his  abandonment  of  this  field,  at  least 
temporarily.  Educated  at  Harvard, 
he  was  the  classmate  of  President 
Eoosevelt.  B.  Boston  about  1854; 
add.  New  York  and  Boston. 

Savage  (William)  composed  church 
music;  sang  Eng.  Chapel  Royal;  pupil 
of  Pepusch.  B.  1720;  d.  July  27, 
1789,  London. 

Savart  (Felix)  invented  a  toothed 
wheel  by  which  the  number  of  vibra- 
tions to  a  given  tone  could  be  accu- 
rately determined;  made  important 
investigations  in  acoustics;  invented 
the  "  trapezoid  violin  "  or  "  box  fid- 
dle"; wrote  extensively  on  music 
and  musical  instruments.  Son  of  a 
maker  of  mathematical  instrimients, 
Sayart  was  educated  as  a  physician, 
but  soon  abandoned  his  practice  to 
study  the  laws  of  sound  and  was  the 
first  to  explain  the  importance  of 
soundboards.  His  box  fiddle,  in  which 
the  wood  was  not  arched  as  in  ordi- 
nary violins,  was  pronounced  by  a  jury 
which  included  Berton,  Catel,  Cheru- 
bini,  Le  Sueur  and  the  violinist  Le- 
febre,  to  be  equal  if  not  superior  to 
a  fine  Cremona,  after  Lefebre  had 
played  both.  The  instrument  is  fully 
described  in  Savart's  book  published 
in  Paris  in  1819.  B.  June  30,  1791, 
Mezieres;    d.  Mar.  16,  1841,  Paris. 

Savoy  Chapel  Boyal  possesses  an 
unusually  fine  collection  of  old  and 
new  melodies,  which  are  sung  by  the 
choristers  mostly  in  unison.  The 
building  was  restored  by  Queen  Vic- 
toria at  a  cost  of  $35,000,  1865,  and 
takes  its  name  from  having  been 
erected  on  the  site  of  a  palace  which 
belonged  to  Count  Peter  of  Savoy, 
1246.  The  choristers  are  educated  in 
a  school  attached  to  the  chapel,  which 
is  supported  by  the  sovereign's  pri- 
vate purse  instead  of  by  allowance 
from  the  civil  list  as  in  the  case  of 
St.  James  Chapel  Royal.  The  master 
in  1908  was  H.  Kingston.  See 
"The  Story  of  the  Savoy,"  Loftie; 
"The  History  of  the  Savoy  Chapel," 
Locking. 


Saynetes.  8p.  Humorous  entre' 
acts  of  the  Spanish  drama  in  which 
music  and  dancing  are  the  most  im- 
portant features. 

Sax  (Charles  Joseph.)  perfected  an 
"Omnitonic  horn"  in  1846,  after  22 
years'  labour;  invented  brass  instru- 
ments capable  of  pvery  note  in  the 
scale  without  crooks,  etc.;  discovered 
a  means  of  boring  wood  and  brass  in- 
struments by  which  they  were  brought 
exactly  in  tune ;  made  clarinets,  bas- 
soons, and  other  instruments  of  fine 
quality.  At  first  a  cabinet  maker. 
Sax  played  the  serpent,  but  in  the 
craft  which  he  revolutionized  was 
wholly  self-taught.  B.  Feb.  1,  1791, 
Dinant,  Belgium;  d.  April  26,  1865, 
Paris.  Antoine  Joseph  "  Adolphe  " 
invented  the  SAXOPHONES;  con- 
tinued the  work  of  his  father,  Charles 
Joseph,  in  making  and  improving  the 
clarinets  and  in  manufacturing  all 
kinds  of  brass  and  wood  wind  in- 
struments; received  gold  medals  of 
honor,  Paris  Exhibitions,  1849,  1851, 
1855;  but  despite  the  value  of  his 
work  was  twice  forced  into  bank- 
ruptcy. B.  Nov.  6,  1814,  Dinant;  d. 
Feb.  4,  1894.  See  Comettant's  "Hia- 
toire  d'un  inventeur  au  XlXme  Si6- 
cle,"  Paris,  1860;  and  Pontecoulant's 
"  Organographie,"  Paris,  1861.  Al- 
phon.se,  Jr.,  worked  for  some  years 
with  his  brother,  ANTOINE  JOSEPH 
"ADOLPHE,"  but  failed  on  setting 
up  business  for  himself. 

Sax  Horn  is  the  name  of  a  family 
of  brass  valve  instruments  invented 
by  "ADOLPHE"  SAX  which  have 
been  generally  adopted  for  military 
and  other  open-air  bands.  These  horns 
are  made  in  six  compasses,  as  follows: 
E  flat,  Soprano  or  Flugel  Horn; 
B  flat,  Alto  Flfigel  Horn;  E  flat. 
Tenor  or  Althorn;  B  flat.  Baritone 
or  Althorn;  B  flat,  Bass  or  Eupho- 
nium; E  flat,  Bass  Tuba  or  Bombar- 
don; and  B  flat.  Contrabass.  They 
give  a  compass  of  flve  octaves  and 
average  about  two  octaves  each,  and 
were  intended  by  the  inventor  to  take 
the  place  of  key  bugles,  trumpets,  and 
French  horns,  and  at  least  alTord  a 
group  in  which  there  is  perfect  unity, 
a  perfect  scale,  and  correct  intona- 


SAZOFHOKE 


587 


SCALE 


tion,  although,  of  course,  incapable 
of  giving  the  peculiar  timbre  of  older 
instruments. 

Saxophone  is  the  name  of  the  brass- 
keyed  instrument  played  by  a  single 
reed  like  that  of  the  clarinet  and  in- 
tended by  the  inventor  "  ADOLPHB  " 
SAX  to  replace  clarinets,  basset  horns, 
and  bassoons  in  military  bands.  The 
Saxophone  is  made  in  several  voices, 
a  Soprano  in  B  flat;  Alto  in  E  flat; 
Tenor  in  B  flat;  Baritone  in  E  flat; 
and  Bass  in  B  flat.  There  is  a  So- 
pranino  in  E  flat,  and  five  varieties 
are  ordinarily  used  in  French  mili- 
tary bands.  The  total  compass  is 
from  b  to  f". 

Sbalzo.     It.    Skip.    Leap. 

Sbarra.    It.    A  BAR. 

Scagnello.  It.  BRIDGE  of  a 
stringed  instrument. 

Soala.    It.    RUN  or  SCALE. 

Scala  divides  with  the  SAN  CAR- 
LOS Theatre  of  Naples  the  distinc- 
tion of  being  the  foremost  opera  house 
in  Southern  Europe.  The  Ducal 
Theatre  of  Milan  was  destroyed  by 
fire,  1776.  and  a  new  opera  house  was 
then  erected  on  the  site  of  Santa 
Maria  della  Scala,  from  which  the 
theatre  derives  its  name.  The  origi- 
nal cost  was  $200,000,  but  it  could 
not  now  be  duplicated  for  five  times 
that  amount.  From  1872  La  Scala 
has  been  the  property  of  the  mimici- 
pality  of  Milan,  which  allows  $49,000 
per  annum  for  its  support,  while  the 
boxholders  contribute  $14,600,  so  that 
as  an  institution  it  is  among  the 
wealthiest  in  Europe.  The  total  seat- 
ing capacity  of  the  house  is  3600. 
The  stage  has  a  depth  of  98  feet,  while 
the  proscenium  is  145  x  54.  The  best 
school  for  the  ballet  in  all  the  world 
was  attached  to  La  Scala  in  1908. 
The  exceptional  excellence  of  per- 
formances there  in  the  past  decade 
were  largely  due  to  the  management 
of  GIULIO  GATTI-CASAZZA,  who 
retired  from  the  management  in  1908 
to  join  ANDREAS  DIPPEL  at  the 
Metropolitan  Opera  House,  New 
York. 

Scale.  In  modern  music  the  gen- 
eral adoption  of  Equal  TEMPERA- 
MENT divides  the  octave  into  twelve 


nearly  equal  semitones,  each  of  which 
can  be  used  as  a  keynote  in  the  con- 
struction of  MAJOR  and  MINOR 
scales.  It  is  assumed  that  the  scales 
in  GREEK  music,  borrowed  from  the 
older  Egyptian  and  based  on  the  notes 
sounded  by  the  strings  of  the  lyre, 
were  reflected  in  the  Church  MODES, 
but  that  with  the  development  of  a 
keener  sense  of  tonality,  and  vdth  the 
progress  of  harmonic  invention,  the 
introduction  of  chromatics  or  semi- 
tones became  a  necessity,  first  recog- 
nized as  MUSICA  FICTA,  although 
forbidden  by  church  law,  but  later 
openly  adopted.  The  human  ear  is 
capable  of  distinguishing  shades  of 
difference  between  more  than  a  score 
of  tones  ranging  between  a  single  tone 
and  its  octave,  but  the  adoption  of  a 
regular  series  of  graduated  steps  in 
progression  is  so  plainly  a  necessity 
that  every  race  has  adopted  some  divi- 
sion which  has  thus  become  conven- 
tionalized. Hindoo  and  Arabian  mu- 
sicians employ  an  ENHARMONIC 
scale  having  a  greater  number  of 
divisions  than  is  recognized  in  Euro- 
pean music.  The  conventional  divi- 
sion as  inherited  from  the  Greek  and 
Church  Modes  recognized  the  follow- 
ing degrees  in  the  ascending  scale: 
the  Tonic,  first  or  keynote;  the 
Supertonic  or  second  note;  the  Medi- 
ant or  third  note;  the  Subdominant 
or  fourth;  the  Dominant  or  fifth; 
the  Superdominant  or  sixth;  and  the 
SubtoniCj  leading  note  or  seventh, 
then  the  octave.  In  JUST  INTONA- 
TION, as  on  instruments  of  the  viol 
family  or  vocal  music,  there  is  a  shade 
of  difference  between  the  so-called 
semitones,  thus  A  sharp  is  a  trifle 
lower  than  B  flat,  while  on  the  key- 
board of  the  organ  and  piano  the 
same  digital  sounds  a  compromise  tone 
pitched  between  the  two.  Now  while 
this  compromise  is  sometimes  slightly 
jarring  to  the  sensitive  ear,  it  has 
made  possible  combinations  in  har- 
mony, progressions  and  transitions  in 
tonality  which  the  ancients  can 
hardly  have  dreamed  of,  while  render- 
ing the  whole  science  of  music  less 
difficult  to  the  student,  and  simplify- 
ing its  NOTATION. 


SCALCHI  588  SCARLATTI 

Scalchi  (Sofia)  sang  con.  and  mez.-  Ottoboni,  and  composed  the  celebrated 
Bop.  in  opera,  debut,  1866,  as  "  Ul-  mass  "  Clementina "  No.  2,  and  his 
rica,"  in  "  Ballo  in  Maschera."  Later  one  comic  opera,  "  Trionfo  dell' 
with  success  throughout  Europe  and  Onore"  performed  at  the ,  Florentine 
America,  rOles  ranging  from  "  Fides "  Theatre.  Hasse,  Quantz  and  other 
to  "  Amneris "  and  "  Siebel " ;  range  notable  musicians  were  among  his 
f  to  b" ;  pupil  of  Boccabati.  B.  Turin,  pupils  during  the  second  Neapolitan 
Nov.  29,  1850;  m.  Sig.  Lolli,  Fer-  sojourn.  B.  Sicily,  1659  or  1658;  d. 
rara;  retired  1890.  Oct.  24,  1725,  Naples.  See:  Ales- 
Scald,  or  Skald.  Scandinavian  sandro  Scarlatti,  E.  J.  Dent,  London, 
poet-musician  or  MINSTREL.  1905.  Domenioo  Girolamo  became 
Scandello,  Scandellius,  Scandelli  the  most  celebrated  harpsichord 
(Aatonio)  composed  Italian  madri-  player  of  his  time,  having  defeated 
gals,  1566-77,  lieder,  1568-75,  of  Handel  in  a  competition  on  this  in- 
which  examples  are  reproduced  by  strument  although  Handel  surpassed 
Ambros,  quantities  of  church  music,  him  as  an  organist;  was  the  founder 
including  masses,  songs,  etc.;  was  of  modern  piano  technique;  com- 
chapelmaster  coadjutor  to  Le  Maistre  posed  the  first  setting  of  "Amleto," 
at  Dresden,  1566-80.  B.  1517,  Brescia;  1775,  60  sonatas  and  many  other 
d.  Jan.  18,  1580,  Dresden.  works  published  by  Ricordi  &  Co., 
Scaria  (Emil)  sang  bass  in  opera  six  volumes,  1906.  Pupil  of  his 
creating  "Wotan"  and  "Gurne-  father,  ALESSANDRO,  and  also  of 
manz,"  Bayreuth,  1876  and  1882,  Gaspareni  and  Greco,  Scarlatti  re- 
debut  in  Pest  as  "  St.  Bris,"  acquir-  modeled  Polaroli's  opera  "  Irene  "  for 
ing  a  large  repertoire.  B.  Graz,  Sept.  Naples  in  1704,  then  visited  Venice, 
18,  1840;  d.  July  22,  1886,  Blasewitz.  met  Handel,  whose  sincere  friend  he 
Scarlatti  (Alessandro)  composed  became,  and  accompanied  him  to 
the  operas  "  Pompeo,"  "  Mitridate  Rome,  where  he  obtained  the  favour  of 
Eupatore,"  Venice,  1707 ;  "  II  Giro,"  Cardinal  Ottoboni,  and  held  the  trial 
Rome,  1712;  "Tigrane,"  Naples,  of  skill  with  Handel  already  men- 
1715;  and  many  other  highly  popular  tioned.  In  1709  he  became  composer 
works  in  which  he  was  the  first  to  to  Queen  Marie  Casimire  of  Poland, 
introduce  the  orchestral  ritonello,  and  for  whom  he  composed  the  operas 
much  chamber  music  and  church  "  Sylvia,"  "  Iflgenia  in  Aulide "  and 
music.  Pupil  of  Carissimi  in  Rome,  "  In  Tauride."  In  1715  he  became 
Scarlatti  first  became  known  through  chapelmaster  of  St.  Peter's,  and  four 
his  opera  "  L'Errore  Innocente,"  Feb.  years  later  visited  London,  Lisbon, 
8,  1679,  Rome.  This  won  him  the  and  Madrid.  Highly  successful  as  a 
protection  of  Queen  Christina  of  musician,  his  habits  as  a  gambler 
Sweden,  who  made  him  her  chapel-  caused  him  to  leave  his  family  in 
master.  Five  years  later  he  was  poverty.  B.  Oct.  26,  1684,  Naples; 
chapelmaster  to  the  Viceroy  of  Naples  d.  1757,  Naples.  Francesco  com- 
and_  while  in  that  city  married  An-  posed  church  music  and  cantatas; 
tonia  Anzalone,  and  was  busied  with  was  chapelmaster  at  Palermo,  1689- 
the  composition  and  performance  of  1715;  brother  of  ALESSANDRO. 
dramatic  pieces  until  1702,  when  he  Giuseppe  composed  "Merope,"  Rome, 
settled  in  Florence  as  composer  to  1740;  "Adriano  in  Siria,"  Naples, 
Ferdinand  III.  Next  he  became  as-  1752;  "  Ezio,"  Naples,  1754;  "L'Isola 
sistant  chapelmaster  at  the  church  disabitta,"  1757,  Vienna;  and  many 
of  the  Sta.  Maria  Maggiore,  where  he  other  dramatic  works.  B.  Naples, 
served  until  1708.  Then  he  was  in-  1712  or  1718;  son  of  DOMENICO; 
duced  to  return  to  Naples  and  di-  d.  Aug.  17,  1717,  Vienna.  Pietro  com- 
rected  the  three  conservatories  in  that  posed  the  opera  "  Clitarco,"  Naples, 
city,  received  the  honour  of  knighthood  1728,  and  other  works  while  chapel- 
of  the  Golden  Spur  from  the  Pope  at  master  in  Naples;  probably  nephew 
the  request  of   his   patron,   Cardinal  of  DOMENICO. 


SCEKANBO  589  SCHEIBLEB 

Scemando.    It.     DIMINUENDO.  ica ;    founded  his  conservatory  in  Ber- 

Scena.  It.  Division  of  an  act  in  lin  in  1881,  now  the  Klindworth- 
opera  or  drama  marked  by  change  of  Scharwenka,  and  in  1891  the  conser- 
scenery;  that  portion  of  an  act  be-  vatory  bearing  his  name  in  Nevir  York 
tween  the  entry  of  two  important  char-  where  he  remained  seven  years,  then 
acters;  accompanied  recitative  fol-  returning  to  Berlin.  He  received  the 
lowed  by  an  aria;  in  its  old  signifl-  titles  of  Ritter,  Dr.  Mus.,  Royal  Pro- 
cation  the  stage ;  d'entrata,  an  entry  feasor,  and  Senator  of  the  Prussian 
song.  Academy  of  Arts.     B.  Jan.  6,   1850, 

Scenario.    /*.    Outline  of  an  opera  near     Fosen,     East     Prussia;      add. 

or  drama.  Berlin. 

Scenici.  Lat.  Ancient  games  fore-  Schauspleldirector.  W.  A.  Mo- 
shadowing  the  Roman  drama,  dating  zart's  one-act  comedy  with  music  was 
back  to  364  B.C.,  according  to  Livy.  first  performed  Feb.  7,  1786,  at  SohBn- 

Schack  or  Cziak   (Benedict)  ere-  brunn  at  a  court  festival  and  in  Lon- 

ated   "Tamino"    in   Mozart's   "  Zau-  don    as    "The   Manager,"    1877.      A 

berflote "  and    sang  the   Requiem   at  Paris  production,   1856,  was  entitled 

the   deathbed  of   that  composer.     B.  "  L'lmpresario." 

1758,  Bohemia;    d.  after  1805.  Schebeb   (Edmund)  wrote  on  the 

Schaferlied,  or  Schaferspiel.   Qer.  orchestral   instruments   of  the   Paris 

PASTORAL.  Exhibition  of  1855;    founded  a  soci- 

Schalmey.     CHALUMEAU.  ety   at   Olmutz   and  Prague   for   the 

Schallbecken.      Qer.     Sound-cups  study  of  old  Italian  church  music; 

or  CYMBALS.  musical  amateur  and  imperial  coun- 

Schallhorn,      Schallstilck.       Qer.  cillor.     B.   Petersdorf,  Moravia,  Oct. 

Bell  of  a  metal   wind  instrument.  22,  1819;    d.  Prague,  1895. 

Scharf.     Qer.     Sharp;  a  combina-  Schebest   (Agnes)  sang  mez.  sop. 

tion  stop   of  an  organ   formed  of  a  in  opera,  but  retired  on  marriage  to 

mixture  of  acute  harmonics.  Dr.    David    Strauss,    the    theologian. 

Scharwenka     (Ludwig     Phillpp)  B.  Feb.  15,  1813,  Vienna;    d.  Dee.  22, 

composed    waltzes    and    other    dance  1869,  Stuttgart. 

music    including   "Album   Polonais,"  Schechner-Waagen     (Nannette) 

Op.  33,  for  piano,  songs,  "  Sakuntala,"  sang  successfully  such  operatic  rSlea 

and  "  Herbstfeire,"  two  choral  works  as  "  Fidelio,"  "  Donna  Anna,"  "  Eury- 

with    soli    and    orchestra,    two    sym-  anthe."    B.   1806,  Munich;    m.  Waa- 

phonies,  the  symphonic  poem  "FrUh-  gen,  the  painter,  1832;    d.  April  30, 

lingswogen,"  Op.  87,  and  for  piano  and  1860. 

violin;  taught  in  the  conservatory  Scheibe  (Tohann  Adolpb)  corn- 
founded  by  his  brother  FRANZ  posed  the  opera  "  Thusenalda,"  two 
XAVER,  1881-91,  then  joined  the  oratorios,  church  music  to  the  num- 
Klindworth-Scharwenka  forces;  in  ber  of  200  pieces,  70  chamber  works, 
early  life  pupil  and  teacher, Kullak's  150  flute  concertos;  published  the 
Academy.  B.  Feb.  16,  1747,  near  weekly  "Der  Critische  Musikus," 
Posen,  East  Prussia;  m.  the  violinist  in  which  he  attacked  Italian  opera 
Marianne  Stresow,  1880;  add.  Berlin,  and  wrote  many  books  on  music.  B. 
Franz  Xaver  composed  symphony  1708,  Leipsic;  son  of  an  organ 
in  C  minor.  Op.  60,  piano  concertos  builder;  d.  April  22,  1776. 
in  B  flat  minor,  C  minor,  0  sharp  Scbeibler  (Jobann  Heinrlcb)  pro- 
minor,  'cello  sonatas  in  D  minor  and  posed  the  pitch  of  a',  440  vibrations 
E  minor,  piano  sonataa  in  C  sharp  at  69  degrees  Fahrenheit  adopted  by 
minor  and  B  flat,  the  four-act  opera,  the  Congress  Physicists  1834,  known 
to  book  by  Dr.  Koppel,  "Mataswin-  as  Stuttgart  PITCH;  invented  a  se- 
tha,"  Weimar,  Oct.  4,  1896,  Metro-  ries  of  52  tuning  forks,  giving  an 
politan  Opera  House,  New  York  City,  equal  scale  for  any  pitch  of  A;  wrote 
April  1,  1897;  played  piano  with  dis.  on  theory.  B.  Nov.  11,  1777,  Mont- 
tinction  in  tours  of  Europe  and  Amer-  joie;    d.  Crefeld,  Nov.  20,  1838. 


SCHEIDEKAITN 


590 


SCEEKZO 


Scheidemann  (David)  played  or- 
gan, St.  Micliaers  church,  Hamburg, 
1585;  helped  compile  a  Lutheran 
"  Melodeyen-Gesangbuch,"  1604.  Hans 
played  organ  St.  Catherine's  church, 
Hamburg;  probably  brother  of 
DAVID.  Heinrich  composed  songs, 
organ  and  church  music;  became 
organist  St.  Catherine's  church,  Ham- 
burg, 1625,  in  succession  to  his  father, 
HANS;  pupil  of  Sweelinck,  and 
teacher  of  Fabricius,  Weckman,  and 
J.  A.  Reinken,  the  latter  his  successor 
at  St.  Catherine's,  1654. 

Scheidemantel  (Carl)  sang  bar. 
in  opera,  debut  at  Weimar,  1878,  as 
"  Wolfram,"  later  at  Covent  Garden, 
and  in  Dresden  in  such  roles  as  "  Kur- 
wenal,"  the  Herald,  "  Klingsor  "  and 
"  Amfortas,"  Bayreuth,  1886,  "  Hans 
Sachs,"  permanent  member  Dresden 
opera  company  1886-1908;  pupil  of 
Borchers.  B.  Weimar,  Jan.  21,  1859; 
add.  Dresden. 

Scheldt  (Samuel)  composed  "Ta- 
blatura  Nova,"  a  collection  of  organ 
music,  Hamburg,  1624,  which  practi- 
cally abolished  Tablature  NOTATION 
for  that  instrument  and  laid  the 
foundation  of  the  modern  orchestral 
organ  style ;  "  Cantiones  Sacrje  octo 
vocmn,"  Hamburg,  1620,  on  which  his 
reputation  among  contemporaries 
chiefly  rested;  played  organ  at  Mo- 
ritzkirche,  Halle;  was  chapelmaster 
to  Markgraf  of  Brandenburg;  one  of 
the  foremost  of  early  organ  virtuosi; 
pupil  of  Sweelinck.  B.  1587,  Halle; 
d.   Mar.    24,   1654,  Halle. 

Schein  (Johann  Herman)  com- 
posed a  Lutheran  "  Cantional,"  1627 ; 
became  chapelmaster  at  Weimar,  and 
Cantor  of  the  Leipsic  Thomasschule, 
1615-30.  B.  Jan.  20,  1586,  Gruhain, 
Saxony;    d.  Nov.  19,  1630,  Leipsic. 

Schelble  (J'ohann  ITepomuk) 
fovmded  the  Frankfort  Oacilienverein 
and  conducted  its  notable  concerts 
1818  to  1835,  when  he  relinquished 
the  baton  to  Mendelssohn;  was  the 
friend  of  Beethoven  and  Spohr,  while 
resident  in  Vienna;  taught  and  sang, 
and  in  1817  became  director  Frank- 
fort Musical  Academy;  composed 
opera  and  other  forgotten  music;  pu- 
pil   of    Weisse,    Vogler,    and    Krebs. 


B.  Hufingen,  May  16,  1789;  d.  Aug.  7, 
1837. 

Scheller  (Jakob)  played  violin  ad- 
mirably, but  was  so  improvident  that 
on  tours  he  often  had  to  borrow  an 
instrument;  concertmeister  in  Stutt- 
gart orchestra  1785-92,  when  the 
l^rench  took  the  city;  pupil  of  Viotti 
and  Vogler.  B.  May  16,  1759,  Schet- 
tal,  Bohemia;    d.  about  1800. 

Schemelli  (George  Christian) 
compiled  a  song  book,  1736,  containing 
many  of  J.  S.  Bach's  melodies;  Can- 
tor of  Zeitz;  pupil  Thomasschule. 
B.   about   1678,  Herzberg. 

Schenk  (Elliot  P.)  conducted,  lec- 
tured, taught,  composed  songs,  etc.; 
was  assistant  conductor  the  WALTER 
DAMROSCH  opera  company,  and  chief 
conductor  the  HENRY  W.  SAVAGE 
English  opera  company;  in  1908  di- 
rected choral  organizations  in  Newark, 
N.  J.  ;  son  of  the  Rev.  Dr.  Schenck. 
B.  Brooklyn,  New  York ;   add.  Newark. 

Schenk  (Jobann)  composed  for, 
and  played  viol  da  gamba  at  the  court 
of  Diisseldorf;    17th  century. 

Schenk  (Johann)  helped  Beetho- 
ven in  his  studies  during  the  great 
composer's  early  residence  in  Vienna; 
was  the  friend  of  Mozart,  Haydn,  and 
Schubert;  composed  the  long  popular 
opera  "  Der  Dorfbarbier,"  Karnth- 
nerthor  Theatre,  Vienna,  Nov.  7,  1796, 
the  cantatas  "  Die  Huldigung,"  "  Die 
Mai,"  and  many  symphonies,  con- 
certos, quartets,  and  dramatic  works, 
wrote  on  theory;  chapelmaster  to 
Prinz  von  Auersperg  from  1794;  boy 
chorister  in  Vienna,  then  pupil  of 
Wagenseil.  B.  Wiener  Neustadt,  Aus- 
tria, Nov.  30,  1753;  d.  Dec.  29,  1836, 
Vienna. 

Scherz.     Ger.    Play,  fun,  drollery. 

Scherzando,  Scherzoso.  "  Play- 
ful, lively,"  as  to  a  phrase  or  move- 
ment. 

Scherzahft.      Ger.     Funny,  droll. 

Scherzo.  It.  "  Joke."  A  move- 
ment which  should  be  humorous  and 
capricious  in  character,  moulded  from 
the  earlier  minu,et  movement  by 
Beethoven,  and  occurring  as  the  third 
movement  in  a  symphony  or  Sonata. 
It  is  sometimes  in  RONDO  FORM, 
with  the   trio  omitted,  usually  fast, 


SCHETKY                    591  SCHIMON 

and   as   composed   by   Beethoven,   in  the  latter's  death.    B.  1822;   d.  1878. 

triple  time.  Paul     was     an     expert     harmonium 

Schetky    (Johann    Oeorg    Chris-  maker,  but  joined  in  the  new  firm 

tofE)    composed   the   song  "  Clarinda,  with  his  brother  on  the  death  of  their 
mistress  of  my  soul"  for  his  friend' father,    JOHANN     LORENZ,     1860. 

Robert  Burns;    played  'cello  at  Edin-  D.  June  18,  1890. 

burgh    concerts;     composed   chamber  Schiettamente     Schietto^     /*. 

inusic  published  by  Bremner  in  that  Simple,  pure,  neat, 

city.    B.  1740,  son  and  pupil  of  the  ScMever  (Ernst)  played  violin  in 

court  musician  Louis  Schetky;  d.  Nov.  Joachim  Quartette,  then  founded  the 

29,  1824,  Edinburgh.  Graflich  Hochberg  Quartette;    and  on 

Schicht  (JTohaniL  Gottfried)  com-  becoming  concertmeister  of  the  Rich- 
posed  three  oratorios,  church  and  ter  orchestra,  settled  in  Liverpool 
chamber  music;  edited  Bach's  motets;  and  founded  the  quartette  bearing  his 
played  clavier;  became  cantor  of  the  name,  in  which  he  played  first  violin; 
Thomasschule,  1810.  B.  Sept.  29,  A.  Ross,  2nd  violin;  Carl  Cour- 
1753,  Zittau;    d.  Feb.  23,  1823.  voisier,     viola;      Walter     Hatton, 

Schickhard    (Johann    Christian)  'cello.     Pupil  of  Joachim,  he  was  a 

composed    instrumental    works    pub-  member     of     the    MuUer    quartette, 

lished   in   Hamburg   and   republished  1868-69,    then    taught    Berlin    Hoch- 

in  London;    Hamburg,   18th  century,  schule.      B.    Mar.    23,     1844;      add. 

Schicksalslied.    Johannes  Brahms'  Liverpool,  Eng. 

ode  to  words  by   Holderlin,   Op.   54,  Schikaneder    (Emmanuel)    wrote 

known  in  English  version  as  "  Song  of  the.,  book    of    Mozart's    "  ZAUBER- 

Destiny,"  was  first  performed  Oct.  18,  FLOTE,"    in    which    he    created    the 

1871,  by  the  Carlsruhe  Philharmonic  r6le  of  "  Papageno  " ;  built  and  opened 

Society,  the  composer  conducting.  the  Theatre-an-der-Wien,  Vienna  1801 ; 

Schiedmayer  (Johann  David)  was  actor,  manager,  prolific  libret- 
made  instruments  at  Erlangen  and  tist;  professed  friend  and  Masonic 
Nuremberg.  D.  1806,  Nuremberg,  brother  of  Mozart.  B.  1751,  Ratis- 
Johann  Lorenz  founded  the  first  bon;  d.  Sept.  21,  1812. 
piano  factory  in  Stuttgart,  1809,  in  Schilling(Dr.  Gustav)wTote  "En- 
partnership  with  C.  F.  Dieudonng,  cyclopie  der  gesammten  musika- 
who  d.  1825,  after  which  the  house  liachenWissenschaften  oder  Universal 
became  Schiedmayer  &  Sohne  on  Lexicon  der  Tonkunst,"  Stuttgart, 
the  admission  of  ADOLF  and  HER-  seven  vols.,  1835-40,  and  other  books 
MAN,  his  sons.  B.  1786;  son  of  on  music;  directed  Stoepel's  Music 
JOHANN  DAVID;  d.  1860.  Her-  School,  Stuttgart,  1830  to  1857,  when 
mann  was  associated  in  business  with  he  settled  in  America.  B.  Schwiegers- 
his  father,  JOHANN  LORENZ,  d.  hausen,  Hanover,  Nov.  3,  1803;  d. 
1861  Hermann  succeeded  to  the  Mar.  1881,  Nebraska,  U.  S.  A. 
business  of  his  father,  HERMANN,  Schillings  (Max)  composed  the 
and  was  a  member  of  the  firm  in  1908.  three-act  opera  "  Ingewelde, '  Carls- 
Adolf  was  in  partnership  with  his  ruhe,  1894;  "Der  Pfeifertag,' 
father,  Johann  Lorenz.  B.  1820;  d.  Schwerin,  1901;  "Molock,"  Dresden, 
1890  Adolf  succeeded  to  the  share  of  1906,  the  symphonic  fantasias  Meer- 
his  father,  ADOLF,  and  was  a  member  gruas  "  and  "^Seemorgen  "  and  many 
of  the  house  in  1908.  The  Stuttgart  works  in  smaller  foras;  became 
house  known  in  1908  as  Schiedmayer  chorusmaster  at  Bayreuth,  1902 ;  pu- 
Pianoforte-Fabrik  was  founded  by  pil  of  Brambach  and  von  KomgsloW 
the  younger  sons  of  JOHANN  LO-  at  Bonn.  B.  April  19,  1868,  Duren, 
RENZ  Julius,  who  served  as  expert  Rhemland;  add.  Munich, 
on  jury  of  awards  for  international  Schimon  (Adolf)  taught  vocal 
exhibitions,  first  studied  harmonium  Leipsic  Conservatory  1874-77,  then 
makins  then  joined  his  father  and  at  Royal  Music  School,  Munich;  com- 
continued  in  business  with  him  until  posed  chamber  music,  the  opera     Stra- 


SCHINDELUCEISSEIt  592 

della,"  Florence,  1844;  edited  works 
of  Porpora  and  other  old  masters; 
pupil,  Paris  Conservatoire  under  Ber- 
ton  and  Halfivy.  B.  Feb.  29,  1820, 
Vienna;  m.  ANNA  REGAN;  d.  June 
21,  1887,  Leipsio.  Anna  Began  sang 
in  concerts  with  much  success  in  Ger- 
many and  England;  taught  Munich 
Royal  School  of  Music;  pupil  of  Gar- 
cia. B.  Sept.  18,  1841,  Aich  near 
Carlsbad;   d.  April  18,  1902,  Munich. 

Schindelmeisser  (Iiouis)  composed 
"  Mathilde "  and  five  other  operas, 
the  oratorio  "  St.  Boniface,"  songs, 
etc. ;  played  clarinet ;  became  concert- 
meister,  served  at  Pest  nine  years,  at 
Berlin,  and  to  the  court  at  Darmstadt. 
B.  Dec.  8,  1811,  Konigsberg;  d.  Mar. 
30,   1864,  Darmstadt. 

Schindler  (Anton)  wrote  "  Bio- 
graphic von  Ludwig  von  Beethoven," 
Munster,  1840,  a  trustworthy  book 
based  on  facts  obtained  while  Bee- 
thoven's friend  and  secretary,  and  on 
the  Beethoven  papers,  which  passed 
into  his  possession  on  Breuning's 
death;  played  violin;  conducted  at 
Josephstadt  Theatre  and  became  chap- 
elmaster  at  Aix-la-Chapelle  and  Mun- 
ster. The  historic  quarrel  between 
Sehindler  and  Beethoven  was  the 
fault  of  the  master,  who  was  faith- 
fully attended  by  Sehindler  during 
his  last  illness.  B.  Medl,  Moravia, 
1796;    d.  Jan.   16,   1864,  Frankfort., 

ScMra  (Francesco)  composed  the 
operas  "  Niccolo  de  'Lapi,"  Her  Maj- 
esty's, London,  1863;  "  Selvaggia," 
Naples,  1865;  his  masterpiece,  "Lia," 
Venice,  1886 ;  and  many  other  dramatic 
works,  besides  arranging  and  conduct- 
ing operatic  performances  in  London, 
and  producing  works  for  BaUe ;  made 
first  success  with  "  Elena  e  Malvina," 
La  Scala,  Milan,  1832,  and  then  be- 
came director  of  the  Lisbon  opera  and 
conservatory,  eight  years  ending  1842, 
when,  after  brief  sojourn  in  Paris,  he 
settled  in  London;  Commander  of  the 
Crown  of  Italy;  pupil  of  the  Milan 
Conservatory.  B.  Sept.  19,  1815, 
Malta;    d.  Oct.  16,  1883,  London. 

Schirmer  (Oustav)  founded  the 
music  publishing  house  of  O.  Schir- 
mer, New  York.  Settling  in  the 
American   metropolis,    1837,    he   was 


schleshtgeb 

first  employed  in  the  music  house  of 
Scharfenberg  &  Luis,  then  became 
manager  for  the  Breusing  house,  1854, 
and  in  1861  bought  the  establishment 
with  the  aid  of  B.  Beer,  when  it  be- 
came known  as  Beer  &  Schirmer,  and 
on  Beer's  death  became  sole  owner. 
B.  1829,  Saxony;  d.  1893,  Eisenach. 
On  his  death  the  business  was  incor- 
porated by  his  sons  and  successors, 
Budolph  E.  and  Gustave  and  on 
the  death  of  the  latter,  1907,  the  con- 
trol of  the  business  remained  in  pos- 
session of  Rudolph  E.  Schirmer.  The 
house  for  many  years  maintained  the 
largest  musical  circulating  library  in 
the  country,  but  eventually  trans- 
ferred it  to  the  Institute  of  Musical 
Art.  A  specialty  was  made  of  pub- 
lishing the  works  of  American  com- 
posers, and  a  Library  of  Musical  Clas- 
sics. Dr.  P.  Goetschius  and  Dr.  The- 
odore Baker  were  the  literary  ad- 
visers, and  the  musical  publications 
had  reached  18,000  titles  in   1906. 

ScMsma.  Gfc.  Half  the  difference 
resulting  from  the  tuning  up  of 
twelve  fifths  and  seven  octaves;  half 
of  a  COMMA  MAXIMA. 

ScUag.  Ger.  A  beat  of  time,  or  of 
a  vibrating  reed  or  a  percussion  in- 
strument. 

Schlagfeder.     Oer.     PLECTRUM. 

Schleifen.    Oer.    To  slide,  to  glide. 

Schleifer.  Oer.  Slurred  note  or 
GRACE. 

ScMeifezeich.en.     Oer.     SLUR. 

Schlesinger  (Adolf  IVtartln) 
founded  a  music  publishing  house  in 
Berlin,  1795,  which  brought  out  a  full 
score  edition  of  Bach's  "  Matthew 
Passion,"  and  published  the  "  Berliner 
AUgemeine  musikalische  Zeitung."  D. 
1839.  Eeinricli  succeeded  to  the 
business  of  his  father,  ADOLF  MAR- 
TIN; founded  the  "Echo,"  1851,  which 
he  sold  to  Leineau,  1864.  B.  1807; 
d.  Dec.  14,  1879.  Moritz  Adolf 
founded  a  music  publishing  house  in 
Paris,  1834,  which  speedily  acquired 
a  very  large  catalogue,  including  the 
scores  of  Mozart's  operas,  and  com- 
plete editions  of  Beethoven,  Hummel, 
etc. ;  founded  the  "  Gazette  Musicale," 
which  later  became  the  "  Revue  Musi- 
cale," 1834  to  1880;   sold  his  business 


SCHLICK 


593 


SCHNEIDEK 


in  1846  to  Brandus  &  Dufour.     B.  Schliok  (Johann  Conrad)  played 

Berlin,  oldest  son  of  ADOLF  MAR-  and    composed    for   'cello.      B.    1759, 

TIN;    d.  1871,  Baden-Baden.  Westphalia;   d.  1825,  Gotha. 

Schliok    (Arnolt)    wrote    "  Tabla-  Schloesser  (Louis)  composed  "  Das 

turen,"    and    other    works    on    organ  Leben   ein   Traum,"    1839,    and    four 

playing,  organ  building,  and  composed  other  operas,  instrumental  and  church 

organ  music  published  in  Gierman  Tab-  music ;   pupil  of  Salieri,  Seyf ried,  and 

lature;    was  celebrated  blind  organist  Mayseder,    Vienna,    and   of   Kreutzer 

and  lutenist  in  service  of  the  Elector  and  Lesueur,  Paris  Conservatoire.    B. 

Palatine    at    Heidelberg.      B.    about  1800,  Darmstadt;    d.  Nov.   17,  188G, 

1460,  Bohemia;  d.  after  1511.  Darmstadt.     Carl  Wilhelm  Adolph 

Schmid  (Anton)  wrote  many  books  composed  piano  music;    taught  Royal 

on  the  literature  and  history  of  music.  Academy  of  Music,  London ;    retired 

and  proved  Haydn's  authorship  of  the  1903.    B.  Feb.  1,  1830;   son  and  pupil 

Austrian  National  hymn ;    was  custos  of  LOUIS ;    add.  London. 


of  Vienna  Imperial  library.  B.  Pihl, 
Bohemia,  Jan.  30,  1787;  d.  July  3, 
1857,  Salzburg. 

Schmidt  (Bernhard)  was  the  real 
name  of  the  celebrated  organ  builder 
known  in  England  as  "  Father 
Smith,"  who  built  the  organs  in  the 


Schluss.     Qer.    End,  FINALE. 
Schliissel.     Oer.    CLEF. 
Schlussfall.    Ger.    CADENCE. 
Schlussclior.    Final  chorus. 
Schlussreim.     &er.    Song  refrain. 
Schmeltzl,  or  Scb.meltzel  (Wolf- 
gang)    composed     a     collection     of 


Whitehall  Chapel  Royal,  Westminster    "  Quodlibets,"  Vienna,  1544;    at  first 

Abbey,   the   Temple,    Durham    Cathe-   cantor  of  Amberg;    later  entered  the 

dral,  and  for  St.  Margaret's, Westmin-    Church. 

ster,  where  he  played  organ.    Schmidt       Schmelzend.       Ger.      "Melting 

was  accompanied  to  England,  1630,  by   away."    Diminishing. 

his   nephews,  Gerard  and  Bernard   or       Schmerz.     Ger.    Grief.     Sorrow. 


Christian,  and  from  1697  was  court 
organ  builder  to  Queen  Anne.  B. 
about  1630,  Germany;  d.  1708,  London. 


Schmerzhaft.     Ger.     Sorrowful. 
Schnabel.    Ger.    Mouthpiece  of  the 
clarinet  and  other  instruments  played 


Schmitt     (Aloys)     composed     100   in  like  manner, 
works  in  all  forms;   was  court  organ-       Schnarrpfeifen;    Schnarrwerk. 
ist   at   Hanover;     taught    Ferdinand    Ger.    Organ  reed  pipes  or  stops. 
Hiller  and  others  at  Frankfort;   pupil        Schneider  (Georg  Ahraham)  com- 
of  his  father,  a  cantor  at  Obemburg,    posed  the  oratorio  "  Die  Pilgrime  auf 
and  of  Andre  of  Offenbach,  in  compo- 
sition;    also    successful    pianist.     B. 
August  26,  1788,  Erlenbach;    d.  July 

25,  1866,  Frankfort.    Jakoh  composed    April   9,   1770,  Darmstadt;    d. 
the  opera  "Alfred  der  Grosse,"  Ham-    Berlin, 
burg,  and  more  than  300  other  works; 
brother  and  pupil  of  ALOYS.    B.  Nov, 


Golgotha "  and  many  works  in  all 
forms;  became  conductor  Berlin  Opera, 
1820;     played    horn    and    oboe.      B. 

-     1839, 

Schneider    (Johann    Christian 
Eriedrich)     composed    the     oratorio 


2,  1803,  Obefnburg;  d.  1853.  George  "Sundfluth"  (The  Deluge),  part- 
Aloys  edited  and  completed  Mozart's  songs  for  male  choir,  which  are  still 
great  C  minor  Mass;  composed  sung,  23  symphonies,  60  sonatas,  seven 
"Trilby,"  an  operetta,  Frankfort,  operas,  etc.;  conducted  important  Ger- 
1845,  and  many  other  large  works,  man  festivals;  founded  a  musical  in- 
including  an  "  In  Memoriam,"  which  stitute  in  Dessau,  where  Robert  Franz 
he  was  conducting  when  stricken  dead  was  a  pupil,  a  singakademie  and  lie- 
by  apoplexy;  was  chapelmaster  at  dertafel  while  chapelmaster  there 
Schwerin,  and  directed  Dresden  Sing-  to  the  Duke;  organist  at  Thomas- 
akademie  and  Mozartverein ;  pupil  of  kirche  and  director  opera  at  Leipsio 
his  father,  ALOYS,  and  of  Vollweiler.  in  early  life,  where  he  was  pupil  of 
B  Hanover  Feb.  2,  1827;  d.  Oct.  15,  Schoenf elder  and  linger;  composed 
1902    Dresden,  symphony  at  10.    B.  Alt-Waltersdorf, 

'  '  38 


SCHITELL 


594 


SCHOOI. 


Jan.  3,  1786;  d.  Nov.  23,  1853.  Jo- 
hann  Gottlob  became  court  organist 
at  Dresden,  and  from  1820  was  recog- 
nized as  leading  organ  virtuoso; 
taught  Liszt,  Mendelssohn,  Schumann, 
and  others;  organist  tfniversity 
Church,  Leipsic,  at  22;  notable  for 
interpretations  of  Bach.  B.  Oct.  28, 
1789,  Alt-Gersdorf ;  d.  April  13,  1864, 
Dresden. 

Solinell.  Ger.  "  Quick."  tTnd  naoh 
scbneller,   "  quicker  and  quicker." 

Schneller  or  Schuelzer.  Qer. 
TRILL. 

Schnorr  von.  Carolsfeld  (Ludwig) 
sang  ten.  in  opera;  admirable  as 
"Robert"  and  "Lohengrin";  created 
the  r61e  of  "  Tristan  "  at  Wagner's  re- 
quest, when  he  caught  a  fatal  chill; 
was  pupil  of  Otto,  Devrient,  Leipsic 
Conservatory;  painted,  wrote  poetry, 
edited  old  music.  B.  July  2,  1836,  Mu- 
nich; son  of  the  painter  and  director 
Kunst  Akademie;  d.  July  15,  1865, 
Dresden.  Malwina  Garriques  sang 
sop.  in  opera  with  distinction,  and 
taught;  created  "  Isolde  "  to  her  hus- 
band's "Tristan."  B.  Dec.  7,  1825; 
m.  LUDWIG,  1854;  d.  Feb.  8,  1904, 
Carlsruhe. 

Schoberlechner  (Franz)  composed 
the  operas  "  II  Borane  di  Dolzheim," 
St.  Petersburg,  1829;  "Rossane," 
Feb.  9,  1839,  Milan;  played  piano, 
performing  Hununel's  second  concerto 
(dedicated  to  him),  at  10.  B.  July 
21,  1797,  Vienna;  d.  Jan.  7,  1843, 
Berlin.  Sophie  Ball'occa  sang  sop. 
in  opera  and  concerts,  receiving  20,000 
rubles  salary  at  St.  Petersburg  from 
1827;  pupil  of  her  father.  B.  1807, 
St.  Petersburg;  m.  FRANZ,  1824;  d. 
1863,  Florence. 

Schobert,  Chobert,  or  Schubart 
composed  17  sonatas  for  violin  and 
piano,  four  books  of  piano  sonatas, 
etc.;  played  harpsichord  admirably; 
became  musician  to  Prince  de  Conti, 
Paris,  1760;  was  organist  at  Versailles 
for  a  time.  B.  1720,  Strassburg;  d. 
1767,  Paris. 

Schoelcher  (Victor)  wrote  "The 
Life  of  Handel,"  London,  185.7 ;  made 
notable  collections  of  books  and  in- 
struments presented  to  the  Paris  Con- 
servatoire;   was  a  distinguished  ama- 


teur in  music;  soldier  and  statesman, 
becoming  life  senator  of  France,  1875; 
wrote  on  music  when  exiled  by  Napo- 
leon III.  B.  July  1,  1804,  Paris;  d. 
Dec.  24,  1893,  Horville,  Seine-et-Oise. 

Schoenberger  (Benno)  composed 
three  piano  sonatas,  three  rhapsodies, 
etc.;  gave  successful  recitals  in  Lon- 
don; toured  America,  1894;  taught; 
pupil  of  Door,  Bruckner,  and  Volk- 
mann,  Vienna  Conservatory.  B.  Sept. 
12,  1863,  Vienna;    add.  London. 

Schoenefeld  (Henry)  composed  the 
symphonies,  "  Rural,"  "  Springtime," 
the  ode  with  orchestra,  "  The  Three 
Indians,"  overtures;  a  violin  sonata, 
Marteau  prize,  1899;  conducted  Gerr 
mania  Mannerchor,  Chicago;  pupil  of 
his  father,  then  of  Leipsic  Conserva- 
tory, where  he  won  prize  with  chorus 
with  orchestra;  later  performed  at 
the  Gewandhaus.  B.  Oct.  4,  1857, 
Milwaukee,  Wis.;    add.   Chicago. 

Schola  Cantorum  was  the  name  of 
a  notable  school  in  PARIS. 

Scbolz  (Bernard  E.)  composed  the 
"  Maliconia,"  symphony  in  B  flat.  Op. 
60 ;  a  requiem,  the  operas  "  Carlo 
Rosa,"  Munich,  1858,  "Anno  1757," 
Berlin,  1903;  overtures  to  Goethe's 
"Iphigenie"  and  "  Im  Freien";  di- 
rected Frankfort  Hoch  Conservatory  in 
succession  to  Raff,  1883,  prior  to  which 
he  had  been  teacher  in  the  royal  school 
at  Munich,  ehapelmaster  at  Hanover, 
and  from  1871  director  the  Breslau 
orchesterverein.  Pupil  of  Ernest 
Pauer  and  W.  S.  Dehn,  at  Mainz,  he 
became  a  prolific  composer.  Other 
works  to  be  noted  are :  "  Das  Sieges- 
fest,"  "  Das  Lied  von  der  Glocke,"  for 
orchestra,  soli,  and  chorus,  and  the 
operas  "  Zietensche  Husaren,"  Bres- 
lau, 1869;  "Morgiane,"  Munich,  1870; 
"  Genoveva,"  Nuremberg,  1875 ;  "  Der 
Trompeter  von  Sakkingen,"  Wiesba- 
den, 1877;  "Die  vornehmen  Wirte," 
Leipsic,  1883;  "  Ingo,"  Frankfort  am 
Main,  1898.  B.  Mainz,  Mar.  30,  1835; 
add.  Frankfort. 

Schonfeld  (Hermann)  composed  a 
symphony,  three  cantatas,  three  over- 
tures ;  became  cantor  and  royal  chapel- 
master  at  Breslau.  B.  1829,  Breslau; 
add.  Breslau. 

School.     System  of  teaching;  char- 


SCHOPHAK 


595 


SCHBITTKASSIG 


acteristics  of  certain  composers  whose 
style  made  a  school.  Sometimes  named 
after  the  city  where  the  composers 
lived  and  after  the  men  themselves. 

Schophar  or  Shophar.  A  Hebrew 
trumpet,  made  of  a  ram's  horn. 

Schopp  or  Schop  (Johanii)  com- 
posed chorale  tunes;  played  organ  St. 
James  kirche,  Hamburg,  violin  to  the 
court  at  Copenhagen;  was  also  vir- 
tuoso on  trombone  and  lute.  D.  about 
1665. 

Schott  (Anton)  sang  ten.  in  opera, 
debut  as  "Max"  in  " Freischutz," 
1870,  Frankfort,  and  thereafter  ap- 
pearing in  such  rSles  as  "  Benvenuto 
Cellini,"  "  Rienzi,"  "  Lohengrin,"  at 
Berlin,  Schwerin,  and  Hanover,  join- 
ing Dr.  Damrosch  at  the  Metropolitan, 
New  York,  in  1884.  Schott  still  sang 
admirably  in  concert  as  late  as  1906. 
In  early  life  he  was  in  the  army,  and 
rose  to  be  a  captain  in  the  Franco- 
Prussian  war,  at  the  close  of  which 
he  became  a  pupil  of  Pischek  and 
Frau  Schebest.  B.  Schloss  Staufe- 
neck,  Swabia,  June  25,  1846;  add. 
Berlin. 

Schott's,  B.,  Sohne  publish  music  at 
Mainz,  having  a  catalogue  in  1908  of 
more  than  23,000  books,  including 
many  valuable  technical  works.  Bern- 
hard,  the  founder  of  the  house,  started 
in  business  1773.  D.  1817.  Andreas 
continued  and  enlarged  the  publishing 
house.  B.  1781;  son  of  BERNHARD; 
d.  1840.  Johann  Joseph  was  in  busi- 
ness with  his  brother  ANDREAS. 
The  brothers  had  established  a  branch 
in  Antwerp  prior  to  their  father's 
death,  and  this  was  afterwards  re- 
moved to  Brussels.  Branches_  were 
then  opened  in  London  and  Paris.  B. 
1782;  d.  1855.  Adam  conducted  the 
business  of  the  London  Branch,  but 
later  became  a  bandmaster,  and  died 
in  India.  Brother  of  ANDREAS  and 
JOHANN  JOSEPH.  Franz  Philip 
became  associated  with  the  business 
1825,  and  succeeded  to  the  management 
of  affairs  for  the  third  generation. 
B.  1811;  son  of  ANDREAS;  d.  1874, 
Milan.  Peter  managed  the  Paris  and 
Brussels  houses  for  the  third  genera- 
tion. B.  Mainz;  son  of  ANDREAS; 
d.  Sept.  20, 1894,  Paris.    His  son  Peter, 


a  nephew,  Franz  von  Landwehr, 
and  Br.  L.  Strecker  were  the  heads 
of  affairs  in  1908,  when  the  firm  had 
houses  in  New  York,  Rotterdam,  and 
Leipsic,  as  well  as  at  the  points 
named. 

Sohottische.  Ger.  "Scotch  Dance.'' 
Modern  dance  in  2-4  time. 

Schradieck  (Henry)  taught  and 
played  violin  with  ability;  conducted; 
composed  25  Grosse  Studien  for  vio- 
lin, and  three  volumes  of  technical 
studies.  Pupil  at  first  of  his  father, 
he  later  studied  with  Leonard  at  the 
Brussels  Conservatory,  where  he  won 
first  prize,  then  with  David  at  Leip- 
sic, and  in  1863  was  engaged  as  solo- 
ist at  the  Reinthaler  concerts  in 
Bremen;  then  served  as  violin  teacher, 
Moscow  Conservatory,  1864^68,  when 
he  became  concertmeister  to  the  Ham- 
burg Philharmonic  Society,  serving  six 
years.  In  1874  he  became  concert- 
meister at  the  Gewandhaus,  Leipsic, 
led  the  theatre  orchestra,  and  taught 
in  the  conservatory.  Then  he  settled 
in  CINCINNATI  as  head  of  the  violin 
department  of  the  COLLEGE  OF 
MUSIC,  and  organized  an  excellent 
symphony  orchestra  composed  of  the 
teachers  and  advanced  pupils,  giving 
the  first  eight  of  Beethoven's  sympho- 
nies in  a  single  season.  In  1889  he 
retired  from  this  post  and  again  be- 
came concertmeister  at  Hamburg,  but 
returned  to  America,  taught  in  the 
National  Conservatory,  then  at  the 
Broad  Street  Conservatory,  Philadel- 
phia, and  finally  opened  his  own  school 
in  Brooklyn,  New  York.  B.  April  29, 
1864,  Hamburg;  add.  Brooklyn-New 
York. 

Schreck  (Gustav)  composed  the 
oratorio  "  Christus  der  Auferstan- 
dene,"  Gewandhaus,  1892,  concert  can- 
tatas, etc.;  became  cantor  of  the 
THOMASSCHULE,  1892.  Pupil  of 
the  Leipsic  Conservatory,  he  was  made 
teacher  of  theory  and  composition  in 
that  institution,  1885,  and  on  accept- 
ing the  important  post  at  the  Thomas- 
schule,  was  made  royal  professor.  B. 
Sept.  8,  1849,  Zeulenroda;  add. 
Leipsic. 

Schreibart.    Ger.    Style. 

Schrittmassig.     Ger.    Slowly. 


SCEBOBEB 


596 


SCHBOETEK 


Schroder  (Cbxistopher)  built  or- 
gans in  London,  having  learned  the 
craft  with  "  Father  Smith."  In  1727 
he  built  the  organ  in  Westminster 
Abbey;  played  at  the  coronation  of 
George  II. 

Schroder  (Hermann)  composed, 
wrote  on  music;  played  violin;  taught 
Royal  School  for  Church  Music,  Ber- 
lin, and  founded  his  own  school  there ; 
pupil  of  A.  Ritter.  B.  July  28,  1843, 
Quedlinburg;  add.  Berlin.  Karl  com- 
posed the  operas  "  Aspasia,"  Sonders- 
hausen,  1892,  "Der  Asket,"  1893, 
Leipsic,  and  the  operetta  "  Malajo," 
1887;  played  'cello  Gewandhaus  and 
Stadt  theatre,  Leipsic ;  taught  Leipsic 
Conservatory;  conducted  opera  Am- 
sterdam, Berlin,  Hamburg;  then  be- 
came chapelmaster  and  director  of  the 
Sondershausen  Conservatory.  B.  Dec. 
18,  1848;  brother  of  HERMANTST;  add. 
Sondershausen.  Alwin  became  one 
of  the  best  known  of  modern  'cellists 
and  quartette  players,  although  chiefly 
self-taught  on  that  instrument.  Vio- 
lin pupil  of  his  brother  HERMANN, 
and  of  Andrg  for  piano,  De  Ahna  for 
violin  and  W.  Tappert,  theory,  he  was 
first  'cellist  in  Liebig's  "  Concert  Or- 
chester,"  1875,  then  held  a  similar 
post  in  Hamburg,  then  became  assist- 
ant to,  and  later  successor  to,  his 
brother  KARL  at  the  Gewandhaus  and 
Leipsic  Conservatory;  joined  the  Bos- 
ton Symphony  Orchestra  as  first  'cello, 
1880,  was  an  original  member  of  the 
Kneisel  Quartette,  and  in  1908,  one  of 
the  founders  of  the  HESS-SCHRO- 
DER  QUARTETTE.  B.  June  15,  1855, 
Neuhaldensleben,  Madgeburg;  add. 
New  York.  Eranz  played  viola,  and 
with  the  three  brothers  above  named 
organized  the  Schroder  Quartette, 
1871. 

Schroder-Devrient  (Wllhelmine) 
sang  sop.  in  opera,  ranking  with  the 
foremost  German  artists  of  all  time; 
debut  as  "  Pamina "  in  "  Zauber- 
flSte,"  Vienna,  1821,  and  thereafter 
distinguishing  herself  as  "Agathe" 
in  "  Freischfitz "  under  Von  Weber's 
direction,  and  as  "  Fidelio "  on  the 
last  and  highly  successful  revival  of 
that  work,  attended  by  the  composer. 
In  1823  she  received  2000  thalers  from 


the  Dresden  opera,  and  commanded 
$500  an  appearance  later  in  her  career 
in  London,  where  she  was  an  especial 
favourite  from  1832.  Her  Wagnerian 
r6les  included  Adriano  Colonna,  which 
she  created,  Senta,  and  Venus,  and 
her  last  appearance  took  place  in  Riga 
as  Romeo,  1848,  although  she  appeared 
at  the  Gewandhaus  in  concert,  1856. 
Pupil  of  her  father,  Eriedrich,  who 
had  sung  the  name  part  in  "  Don  Gio- 
vanni "  when  first  produced  in  German, 
and  who  died,  1818,  she  inherited  a 
talent  for  acting  from  her  mother,  born 
Antoinette  Sophie  Burger,  a,  talented 
tragedienne,  and  in  childhood  joined 
the  forces  of  the  Hofburg  Theatre,  Vi- 
enna. B.  Dec.  6,  1804;  m.  Karl  De- 
vrient,  the  actor,  1824;  divorced  him, 
1828;  m.  Herr  von  Doring;  divorced 
him,  and  in  1850  m.  Herr  von 
Rock,  of  Livonia;  d.  Jan.  21,  1860, 
Coburg. 

Schroter  (Corona  Elizabeth  Wil- 
helmine)  composed  two  bopks  of 
songs;  was  court  singer  at  Weimar 
from  1776,  and  created  the  rSle  of 
"  Iphigenie "  in  Gtoethe's  play,  and 
composed  the  music  for  "Die  Fiscli- 
erin";  pupil  of  her  father,  Johann 
Eriedrich,  who  was  oboist  at  Warsaw. 
Her  acquaintance  with  Goethe  began 
1766.  B.  Jan.  14,  1751,  Guben;  d. 
Aug.  23,  1802,  Ilmenau.  Johann 
Heinrich  composed  duos  for  violin 
and  for  violin  and  'cello;  played  vio- 
lin; brother  of  CORONA  E.W.  Jo- 
hann Samuel  played  'cello;  toured 
in  early  life  with  his  father,  sister, 
and  brother,  then  settled  in  London, 
where  he  married  one  of  his  pupils, 
and  retired  on  receiving  $2500  per 
anniun  to  consent  to  an  annulment  of 
the  marriage.  In  1872  he  became 
music  master  to  the  Queen  in  succes- 
sion to  J.  C.  Bach,  and  published  six 
harpsichord  sonatas,  and  later  six 
concertos  and  other  chamber  music. 
B.  1750,  Warsaw;  brother  of 
CORONA  E.  W.;    d.  Nov.  2,  1788. 

Schroeter  (Iieonard)  composed 
"Hymni  Sacri,"  Erfurt,  1587,  at  a 
time  when  certain  of  the  Latin  hymns 
were  still  permitted  in  the  Lutheran 
service;  became  Cantor  of  Madgeburg 
Cathedral    in    succession    to    Gallug 


SCHtTBAKT 


597 


SCHUBERT 


Dressier,  1564.    B.    Torgau;    d.  after 
1600.  ^ 

Schubart  (Christian  Friedrich 
Daniel)  composed  a  Salve  Regina  and 
clavier  pieces;  founded  the  Mann- 
heim "Deutsche  Chronik,"  1744,  later 
known  as  "  Vaterlands-Chronik  " ; 
wrote  on  musical  aesthetics,  and  his 
biography,  while  in  prison.  B.  1739, 
Oberaontheim,  Swabia;  d.  Oct.  10, 
1791. 

Schubert  (Frsmz  Peter)  was  the 
world's  greatest  composer  of  songs, 
praotic9,lly  the  creator  of  the  art  song, 
and  one  of  the  most  prolific  as  well  as 
one  of  the  greatest  of  all  composers  in 
every  form.  Son  of  a  Moravian  peas- 
ant schoolmaster  who  had  married  a 
cook  in  Vienna,  by  name  Elizabeth 
Vitz,  a  Silesian  woman,  Franz  was  one 
of  14  children.  Habits  of  industry 
were  forced  upon  the  whole  family  by 
necessity,  but  the  father  was  deter- 
mined his  children  should  have  the 
best  educational  advantages  he  could 
obtain.  Accordingly  Franz  was  in 
childhood  the  violin  pupil  of  Michael 
Holzer,  choirmaster  of  the  parish 
church  at  Lichtenthal  and,  his  master 
said,  "  soon  had .  harmony  at  Ms 
fingers'  ends."  He  developed  a  lovely 
soprano  voice  which  gained  him  en- 
trance to  the  Convict  in  Vienna,  where 
choristers  were  trained  for  the  Im- 
perial Chapel,  and  were  given  the  ru- 
diments of  an  education,  provided 
with  an  attractive  uniform,  well  fed 
and  well  lodged.  An  orchestra  com- 
posed of  the  pupils  practiced  daily  the 
works  of  the  master  composers,  and 
the  boys  were  encouraged  •  to  attempt 
composition,  which  was  only  possible 
to  Schubert  through  the  generosity  of 
his  fellow  pupil  Spaun,  who  gave  him 
the  music  paper  which  Schubert  was 
to'o  poor  to  buy.  Schubert's  first  sym- 
phony was  composed  at  sixteen,  but  he 
was  already  author  of  a  number  of 
fantasias,  some  songs,  and  an  overture. 
Unfortunately  the  discipline  of  the 
Convict  was  far  from  strict,  and  the 
boy  was  permitted  to  pursue  his  stud- 
ies in  a  desultory  manner,  so  that 
when  his  voice  broke  in  1813  he  was 
unable  to  stand  the  examination  which 
would  have  given  him  a  scholarship. 


The  year  before  Schubert's  mother  had 
passed  away  and  his  father  having  re- 
married, the  boy  found  conditions  at 
home  far  from  pleasant.  To  avoid 
military  service  he  qualified  at  the 
Normal  School  for  the  post  of  school- 
master, and  for  three  years  he  was  his 
father's  assistant;  but  his  heart  was 
never  in  this  work,  and  he  spent  most 
of  his  time  with  music.  Salieri  aided 
him  in  the  study  of  composition,  and 
when  in  his  eighteenth  year  Schubert 
had  begun  to  compose  with  that  ex- 
traordinary' facility  which  was  his 
characteristic  in  after  life;  thus  in  a 
single  day  he  composed  eight  songs, 
including  "  Der  ErlkSnig,"  and  a  total 
of  144  songs  between  his  seventeenth 
and  eighteenth  birthdays.  He  took 
advantage  of  opportunities  aflForded 
at  this  period  to  hear  the  best 
concerts,  and  conceived  a  lasting 
and  earnest  admiration  for  both 
Mozart  and  Beethoven.  His  first 
mass,  that  in  F,  written  between 
May  17  and  July  22,  1814,  which 
some  critics  rank  next  to  the  great 
Beethoven  mass  in  C,  was  performed 
by  his  old  teacher  Holzer  in  the  Licht- 
enthal Parish  Church.  Then  he  began 
the  composition  of  dramatic  pieces, 
always  hampered  by  the  lack  of  a  good 
libretto,  and  composed  four  other 
masses;  but  being  unable  to  obtain  a 
living  from  his  art  in  Vienna,  sought 
unsuccessfully  to  secure  the  director- 
ship of  a  music  school  at  Laybach.  In 
1818,  and  again  in  1824,  Schubert 
spent  his  smnmer  at  Zel6sz,  Hungary, 
as  teacher  in  the  family  of  Count  Es- 
terhazy,  where  his  surroundings  were 
delightful  in  all  respects,  but  where  he 
none  the  less  complained  of  loneliness. 
During  the  remainder  of  his  short  life 
Schubert  lived  a  Bohemian  existence, 
having  no  assured  income  at  any  time, 
sometimes  sharing  the  room  of  his 
friend  Franz  von  Sehober  or  such 
other  of  his  boon  companions  as 
might  be  temporarily  in  funds;  but 
from  first  to  last  he  was  underpaid  by 
his  publishers,  unappreciated  by  the 
general  public,  and  practically  un- 
known either  to  the  higher  grade  of 
musical  society  or  to  the  court  circles 
which  had  at  once  starved  and  petted 


SCHTTBEET 


598 


SCHUBEBT 


Mozart,  and  had  tolerated  the  brusque- 
ness  of  Beethoven.    Through  the  friend- 
ship of  Michael  Vogl,  a  popular  tenor, 
Schubert's  songs  came  to  get  a  hear- 
ing, and  gradually  the  publishers  were 
willing  to  buy  them,   but   at  prices 
which  in  these  days  seem  ridiculously 
low.     The    celebrated   "  Winterreise  • 
series  of  songs  brought  him  an  aver- 
age of  twenty  cents  apiece,  his  dra- 
matic works  brought  practically  noth- 
ing, and  a  heap  of  manuscripts  found 
after  his  death  which  kept  the  pub- 
lishers busy  for  more  than  a  decade, 
making  the  fortunes  of  several  houses, 
were  valued  in  the  inventory  at  about 
two  dollars.     "Die  ZwillingsbrQder," 
his  farce,  was  produced  at  the  Karnth- 
nerthor  Theatre,  1820,  but  failed  after 
the    sixth   performance;     his    serious 
opera  "  Alphonso  und  Estrella  "  was 
found  too  diflScult  by  the  musicians 
who  undertook  to  rehearse  it  in  1822 
at  Graz,   and  was  not  actually  per- 
formed until  Liszt  brought  it  out  in 
1854,  and  his  music  to  "  Rosamunde," 
while  well  received  on  its  production 
at  the  Theatre-an-der-Wien,  was  with- 
drawn after  the  second  performance. 
Of  his  many  symphonies  the  best  were 
not  performed  during  the  composer's 
lifetime.    In  1826,  when  the  composer 
was  at  the  height  of  such  small  fame 
as  he  attained  in  life,  he  received  a 
matter  of  200   florins   for   the   seven 
songs  from  the  "  Lady  of  the  Lake," 
published  by  Artaria,  and  300  florins 
or  about  $60  for  the  violin  sonata  in 
D,  Op.  53,  and  the  "  Divertissement  a 
la  Hongroise,"  Op.  54.    More  than  any 
other  composer  Schubert  possessed  the 
art  of  writing  melody  which  should 
blend  completely  with  the  spirit  of  a 
song,  and  he  was  gifted  with  a  fine 
discriminating  taste  in  the  matter  of 
poetry.  More  than  one  hundred  poets 
are  represented  in  a  group  of  600  songs 
which  he  composed;  and  of  these  he 
selected  for  his  purposes  72  songs  by 
Goethe,  54  by  Schiller,  48  by  Mayr- 
hofer,  44  by  Muller,  25  by  HSlty,  27 
by  Matthisson,  20  by  Kosegarten;  the 
other  poets  represented  being  Schlegel, 
Klopstock,    KSrner,     Schober,    Seidl, 
Salis,   Claudius,   Walter   Scott,   Eell- 
Btab,  Uz,  Ossian,  Heine,  Shakespeare, 


Pope,  and  Gibber.  The  judgment  oi 
the  musical  world  fully  confirms  the 
estimate  of  Liszt,  "  Schubert  was  the 
most  poetic  musician  that  ever  lived." 
Such  songs  as  "Der  Erlkonig,"  "Die 
Junge  Nonne,"  "  Der  Doppelganger," 
"  Der  Todt  und  das  Madchen,"  to  name 
but  a  few  of  the  most  familiar,  are 
ample  proof  of  this.  Schubert's  habits 
of  composition  were  well  defined.  As 
a  rule  he  composed  or  studied  from  six 
to  seven  hours  until  two  in  the  after- 
noon, when,  if  he  had  as  much  as 
fifteen  cents  he  would  dine  at  a  gast- 
haus  (and  there  were  days  when  he 
had  not  this  amount)  or  sometimea 
with  a  friend  or  patron.  During  the 
afternoon  he  either  enjoyed  long  walks 
or  spent  the  next  few  hours  with  music 
at  the  home  of  a  friend,  and  usually 
by  five  o'clock  he  could  again  be  found 
in  his  favourite  tavern.  He  could 
hardly  have  drunk  to  excess  on  his 
income  even  if  the  creation  of  more 
than  a  thousand  works  in  music  in 
less  than  eighteen  years  were  not  proof 
at  once  of  industry  and  of  reasonable 
sobriety.  His  earliest  appearance  in 
good  company  at  a  concert  was  on  the 
occasion  of  Salieri's  Jubilee,  where 
the  short  cantata  written  and  com- 
posed by  Schubert  as  Salieri's  pupil 
was  performed.  His  only  public 
honour  was  membership  in  the  Vienna 
Gesellschaft  der  Musikfreunde,  which 
elected  him  a  member  of  its  represent- 
ative body  in  1827.  Of  his  numerous 
compositions  for  piano  the  "  Moments 
Musicale "  and  "  Impromptus "  are 
known  to  every  concert  goer.  His 
chamber  music  includes  the  notable 
quartets  in  A  minor,  D  minor,  and  G 
major,  the  piano  sonatas  in  G,  A  minor, 
and  B  flat,  while  his  great  symphony 
in  C  major  and  the  symphony  in  B 
minor,  "  Unfinished,"  were  each  suffi- 
cient to  rank  him  with  the  world's 
foremost  composers.  In  1829  Schu- 
bert made  his  only  notable  appearance 
at  a  concert  of  his  own  work  in  the 
hall  of  the  Musik  Verein,  the  net  re- 
ceipts being  $160.  At  this  time  he 
was  living  with  his  friend  Schober  at 
the  "Blaue  Igel "  (Blue  Hedgehog). 
Overwork  and  under-nourishment  had 
combined  to  wreck  a  constitution  orig- 


SCHUBEKT 


599 


SCHTXBEBT 


inally  robust.  He  complained  of  gid- 
diness and  rushes  of  blood  to  the  head, 
and  although  he  continued  his  labours 
and  maintained  his  usual  cheerfulness 
when  with  his  boon  companions,  his 
illness  became  more  serious  and  his 
attacks  more  frequent.  On  Sept.  11, 
1828,  he  took  to  his  bed,  and  although 
it  was  not  certain  his  disease  was  not 
infectious,  such  friends  as  Spaun,  Hut- 
tenbrenner,  Bauernfeld,  and  Randhart- 
inger  continued  to  visit  him.  His  ill- 
ness finally  developed  into  a  malig- 
nant typhus,  and  in  the  deliriimi  in 
which  be  passed  away  he  raved  about 
Beethoven,  whom  he  had  met  but  once 
in  his  life,  and  of  whom  he  had  then 
been  mortally  frightened.  Ferdinand 
Schubert,  oldest  brother  and  his  best 
beloved  relation,  was  present  at  the 
end.  His  whole  effects  as  shown  by 
the  official  inventory,  and  including 
the  precious  manuscript  already  men- 
tioned, were  valued  at  $12.50.  The 
remains  were  interred  at  Wahrin^, 
near  the  grave  of  Beethoven,  but  in 
1888  were  removed  to  the  central 
cemetery  of  Vienna,  along  with  those 
of  Beethoven,  and  tablets  now  adorn 
the  houses  in  which  he  was  born,  in 
which  he  lived,  and  where  he  died; 
and  in  1872  the  Mannergesang  Verein 
of  Vienna  unveiled  a  monument  to 
him  in  the  Stadt  park  which  cost 
42,000  florins.  B.  No.  54  Nussdorfer 
Strasse,  Lichtenthal,  a  suburb  of  Vi- 
enna, Jan.  31,  1797 ;  d.  Nov.  19,  1828. 
See  biographies  Max  Friedlander, 
Reissman,  Berlin,  1873;  A.  Niggli, 
1880;  Barbedette,  Paris,  1866;  "Aus 
Franz  Schubert  Leben,"  Ferdinand 
Schubert,  1839;  "Franz  Schubert," 
Dr.  von  Hellborn,  Vienna,  1865 ;  Bug. 
trans.,  A.  D.  Coleridge,  1869;  The- 
matic Catalogue  by  Nottebohm.  A 
complete  edition  of  Schubert's  works 
was  published  by  Breitkopf  &  Hartel, 
of  which  the  catalogue  follows:  Or- 
chestral Works.  Symphonies:  No.  1, 
Symphony,  D  major;  No.  2,  Sym- 
phony, B  flat  major ;  No.  3,  Symphony, 
D  major;  No.  4,  Tragic  Symphony; 
No  5,  Symphony,  B  flat  major;  No.  6, 
Bymphony,  C  major;  No.  7,  Sym- 
phony, C  major;  No.  8,  Symphony,  B 
minor    (unfinished).     Overtwes  and 


other  Orchestral  Works:  No.  1,  Over- 
ture to  the  comedy  with  vocal  accom- 
paniment, Der  Teufel  als  Hydrauli- 
cus;  No.  2,  D  major;  No.  3,  B  flat 
major;  No.  4,  D  major;  No.  5,  D 
major  (in  Ital.  style) ;  No.  6,  C  ma- 
jor; No.  7,  E  minor;  No.  8,  Five 
Minuets  with  six  Trios;  No.  9,  5 
Deutsche  with  Coda  and  seven  Triosj 
No.  10,  Minuet.  Chamber  Iffusic. 
Octets:  No.  1,  Octet,  Op.  166;  No.  2, 
Minuet  and  final  movement  of  an  octet 
for  wind  instruments;  No.  3,  A  short 
Mourning  music.  Quintets:  No.  1, 
Quintet,  Op.  163.  String  Quartets: 
No.  1,  B  flat  major;  No.  2,  C  major; 
No.  3,  B  flat  major;  No.  4,  C  major; 
No.  5,  B  flat  major;  No.  6,  D  major; 
No.  7,  D  major;  No.  8,  Op.  168,  B 
flat  major;  No.  9,  G  minor;  No.  10, 
Op.  125,  No.  1,  E  flat  major;  No.  11, 
Op.  125,  No.  2,  E  major;  No.  12,  Quar- 
tet-Movement, C  minor;  No.  13,  Quar- 
tet, Op.  29,  A  minor,  No.  14,  D  minor ; 
No.  15,  Op.  161,  G  major.  String-Trio: 
Trio,  B  flat  major.  Fiano  Kusic. 
Piano-Quintet,  Quartet,  and  Trios: 
No.  1,  Quintet,  Op.  114;  No.  2,  Adagio 
and  Rondo  in  F  major;  No.  3,  First 
Trio,  Op.  99 ;  No.  4,  Second  Trio,  Op. 
100;  No.  4  b,  Second  Trio,  Second  en- 
larged edition;  No.  5,  Kfotturno  in 
E  flat  major,  Op.  148.  For  Piano  and 
one  Instrument :  No.  1,  Rondo  with 
Violin,  Op.  70;  No.  2,  Sonatina  with 
Violin,  Op.  137,  No.  1;  No.  3,  Sona- 
tina with  Violin,  Op.  137,  No.  2 ;  No. 
4,  Sonatina  with  Violin,  Op.  137,  No. 
3;  No.  5,  Fantasia  with  Violin,  Op. 
159;  No.  6,  Sonata  with  Violin,  Op. 
162;  No.  7,  Introduction  and  Varia- 
tions on  a  Theme  ("Ihr  Blilmlein 
alle")  from  the  Miller  Songs  with 
Flute,  Op.  160;  No.  8,  Sonata  with 
Arpeggione  or  'Cello.  Piano-Duets: 
I,  Nos.  1-7;  II,  Nos.  8-18;  III,  Nos. 
19-32.  Marches:  No.  1,  Three 
Marches  (Marches  hfiroiques).  Op.  27; 
No.  2,  Six  Marches,  Op.  40;  No.  3, 
Three  Military  Marches,  Op.  51;  No. 
4,  Fimeral  March  composed  at  the 
Death  of  the  Emperor  Alexander  the 
First  of  Russia,  Op.  55 ;  No.  5,  Heroic- 
March  composed  for  the  act  of  Anoint- 
ing the  Emperor  Nicolaus  the  First  of 
Russia,  Op.  66;  No.  6,  Two  Character- 


SCHUBERT  600  SCHXJBEBT 

istic  Marches,  Op.  121;  No.  7,  Chil-  promptns,  Op.  90;  No.  3,  4  Im- 
dren's  March  in  G  major.  Other  promptus,  Op.  142;  No.  4,  Musical 
Works:  No.  8,  Overture,  Op.  34,  F  Moments,  Op.  94;  No.  5,  Adagio  and 
major;  No.  9,  Overture,  C  major;  No.  Rondo,  Op.  145;  No.  6,  Variations, 
10,  Overture,  D  major;  No.  11,  Sonata,  F  major;  No.  7,  Variations  on  a 
Op.  30,  B  flat  major;  No.  12,  Sonata,  Theme  by  A.  Huttenbrenner;  No.  8, 
Op.  140,  C  major;  No.  13,  Eondo,  Op.'  Variations  on  a  Waltz  by  Diabelli; 
107,  A  major;  No.  14,  Hondo,  Op.  138,  No.  9,  Andante;  No.  10,  Piano  Piece, 
D  major;  No.  15,  Variations  on  a  A  major;  No.  11,  Adagio,  E  major; 
French  Song,  Op.  10,  E  minor;  No.  16,  No.  12,  Allegretto,  0  minor;  No.  13, 
Variations  on  an  original  Theme,  Op.  3  Piano  Pieces;  No.  14,  5  Piano  Pieces; 
35,  A  flat  major;  No.  17,  Variations  No.  15,  2  Scherzos;  No.  16,  March,  E 
on  a  Theme  ("Waseinst  vor  Jahren")  major.  Dances  for  Piano:  No.  1, 
from  Herold's  Opera  "  Mary,"  Op.  82,  Original  Dances,  Op.  9 ;  No.  2,  Walzes, 
No.  1,  G  major;  No.  18,  Introduction  Mndler,  and  Ecoss,  Op.  18;  No.  3, 
and  Variation  on  an  original  Theme,  Germ.  Dances  and  Ecossaises,  Op.  33; 
Op.  82,  No.  2,  B  flat  major;  No.  19,  No.  4,  Sentimental  Waltzes,  Op.  50; 
Divertiss.  a  la  hongroise.  Op.  54,  G  No.  5,  Viennese  Ladies-Landler  and 
minor;  No.  20,  Divertiss.  a  la  hon-  Ecossaises,  Op.  67;  No.  6,  Noble 
groise.  Op.  54,  G  minor  (en  forme  Waltzes,  Op.  77 ;  No.  7,  Graz  Waltzes, 
d'une  Marche  brillante  et  raisonnge)  Op.  91;  No.  8,  Twenty  Waltzes,  Op. 
on  French  Movements,  Op.  63,  E  127;  No.  9,  Twelve  LSndler,  Op.  171; 
minor;  No.  21,  Varied  Andantino  on  No.  10,  17  Landler;  No.  11,  Twelve 
French  Movements,  Op.  84,  No.  1,  B  German  and  five  Ecossaises;  No.  12, 
minor;  No.  22,  Rondo  brillant  on  8  Landler;  No.  13,  6  German  Dances; 
French  Movements,  Op.  84,  No.  2,  E  No.  14,  3  German  Dances;  No.  15,  3 
minor;  No.  23,  Life's  Adversities,  German  Dances;  No.  16,  3  German 
Characteristical  Allegro,  Op.  144,  A  Dances;  No.  17,  2  German  Dances; 
minor;  No.  24,  Fantasia,  Op.  103,  P  No.  18,  2  German  Dances;  No.  19, 
minor;  No.  25,  Six  Polonaises,  Op.  German  Dance;  No.  20,  German 
61;  No.  26,  Four  Polonaises,  Op.  75;  Dance;  No.  21,  German  and  Ecossaise; 
No.  27,  Four  Landler;  No.  28,  Fugue,  No.  22,  Cotillon;  No.  23,  Gallop  and 
Op.  152,  E  minor;  No.  29,  Allegro  Ecossaises,  Op.  49;  No.  24,  Graz  Gal- 
mod.,  C  major  and  Andante,  A  minor;  lop;  No.  25,  11  Ecossaises;  No.  26,  8 
No.  30,  Fantasia  (from  the  year  1810) ;  Ecossaises;  No.  27,  6  Ecossaises;  No. 
No.  31,  Fantasia  (from  the  year  1811) ;  28,  5  Ecossaises;  No.  29,  Ecossaise; 
No.  32,  Fantasia  (from  the  year  1813).  No.  30,  20  Minuets;  No.  31,  Trio  "  to 
Sonatas  for  Piano:  No.  1,  Sonata,  E  be  regarded  as  the  lost  son  of  a 
major  (1815);  No.  2,  Sonata,  C  major  minuet."  Vocal  IVIusic.  Masses: 
(1815) ;  No.  3,  Sonata,  A  flat  major  No.  1,  Mass  in  F  major;  No.  2,  Mass 
(1817);  No.  4,  Sonata,  E  minor  in  G  major;  No.  3,  Mass  in  B  flat 
(1817);  No.  5,  Sonata,  Op.  147,  B  major;  No.  4,  Mass. in  C  major;  No. 
major  (1817);  No.  6,  Sonata,  Op.  5,  Mass  in  A  flat  major;  No.  6,  Mass 
164,  A  minor  (1817)  ;  No.  7,  Sonata,  in  E  flat  major;  No.' 7,  Songs  for  the 
Op.  122,  E  flat  major  (1817) ;  No.  8,  Celebration  of  the  Holy  Eucharist  of 
Sonata,  Op.  143,  A  minor  ( 1823 ) ;  No.  the  Mass  with  a  Supplement:  The 
9,  Sonata,  Op.  42,  A  minor  (1825);  Lord's  Prayer.  Minor  Sacred  Works, 
No.  10,  Sonata,  Op.  120,  A  major  mth  Accompaniment:  No.  1,  Ofl'er- 
(1825);  No.  11,  Sonata,  Op.  53,  D  tory.  Op.  46;  No.  2,  Op.  47;  No.  3, 
major  (1825);  No.  12,  Sonata,  Op.  78,  Op.  153;  No.  4,  ( "  Tres  'Sunt " ) ; 
G  major  (1826);  No.  13,  Sonata,  C  No.  5,  Graduate;  No.  6,  Tantumergo, 
minor  (1828);  No.  14,  Sonata,  A  Op.  45;  No.  7,  Tantum  ergo  (1816); 
major  (1828);  No.  15,  Sonata,  B  flat  No.  8,  Tantum  ergo  (1822);  No.  9, 
major  (1828).  Fantasia,  Im-  Salve  regina  in  B  flat  major;  No. 
promptus,  and  other  Pieces  for  Piano:  10,  Duet  ("  Auguste  jam  coeleste") ; 
No.  1,  Fantasia,  Op.  15;   No.  2,  4  Im-   No.  11,  Magnificat  in  C  major;    No. 


BCHTTBEBT  601  SCHUBERT 

12,  Stabat  mater  in  G  minor;    No.   No.  12,  Widersprueh  (Contradiction), 

13,  Stabat  mater  in  F  minor;   No.  14,   Op.  106;   No.  13,  Nachthelle,  Op.  134; 
Kyrie  (1812) ;  No.  15,  Kyrie  (1813) ;    No.    14,   Standchen    (Serenade),   Op. 
No.  16,  Kyrie  (1813);    No.  17,  Salve    135;    No.  15.  Im  Gegenwartigen  Ver- 
regina    (1816);    imthout  Acoompani-   gangenea   (The  Present  is  the  mother 
■ment:    No.   18,  Antiphona,  Op.   113;    of  the  Past);    No.  16,  Drinking  Song 
No.   19,  Salve  regina.  Op.   149;    No.    ("Freunde,    sammelt   Euch");     No. 
20,    Salve    regina     (1816);    No.    21,    17,     Drinking     Song     ("Auf,     Jeder 
Kyrie    (1813);    No.  22,  Supplement,    sei");      No.      18,      Bergknappenlied 
Tantum    ergo     (Draught).      Drama-    (Miner's  Song);    No.   19,  La  pasto- 
tic     Works:      No.     1,     Des    Teiifel's   rella.     Without  Aeeompamment :   No. 
Lustschloss    (The    Devil's   Enchanted   20,  Junglingswonne   (Youthful  Pleas- 
Castle).     Opera   in   3   Acts;     No.   2,   ure).  Op.   17,  No.   1;    No.  21,  Liebe 
Der  vierjahrige  Posten.     (The  Soldier    (Love),  Op.  17,  No.  2;    No.  22,  Zum 
who  kept  his  Post  during  4  years.)    Kundtanz  (Round-dance),  Op.  17,  No. 
Opera   in   1    Act;     No.   3,   Fernando.    3;    No.  23,  Die  Nacht    (the  night). 
Opera   in    1    Act;     No.   4,   The   Two   Op.    17,    No.    4;     No.    24,    Wehmuth 
Friends   of    Salamanka,   Opera   in   2    (Melancholy) ;    No.  25,  Ewige  Liebe 
Acts;      No.    5,     The    Twin-Brothers,    (Eternal     Love);      No.     26,     Flueht 
Opera  in  1  Act;   No.  6,  The  Conspira-    (Flight),  Op.   64;     No.   27,  Monden- 
tors.  Opera  in  1  Act;    No.  7,  The  En-    schein  (Moonlight),  Op.  102;   No.  28, 
chanted  Harp,  Melodrame  in  3  Acts;    Schlachtlied   (Battle-Song),  Op.  151; 
No.   8,   Music  to  the   comedy,   Rosa-   No.  29,  Drinking  Song  of  the  XlVth 
mond  of  Cyprus,  Op.  26;    No.  9,  Al-   century.  Op.  155;  No.  30,  Nachtmusik 
fonso  and  Estrella,  Opera  in  3  Acts,    (Serenade),  Op.  156;    No.  31,  Frfih- 
Op.   69;     No.    10,   Fierabras,   Heroic-    lingsgesang   (Spring  Song);    No.  32, 
Romantic  Opera   in  3  Acts,  Op.   76.    Der  Geistertanz    (The   Dance  of  the 
{Fragments) :     No.    11,    Claudine   of   fthosts) ;    No.  33,  Gesang  der  Geister 
Villa    Bella;     No.    12,    Der    Spiegel-    Uber    den    Wassem     (Song   of    the 
ritter    (The   Knight  with   the   Look-    Spirits    over   the    Waters) ;    No.    34, 
ing-Klass),  Little  Opera;  No.   13, Die   Lied  im   Freien    (Song  in   the  open 
Bfirlschaft    (The  Bail),  Opera;    No.    air);      No.     35,    Sehnsucht     (Loves 
14,    Adrast,    Opera;     No.    15,    Pieces    Longing);     No.   36,   Ruhe,   schonstes 
interpolated  into  Herold's  Opera:  Das    Gltick    der    Erde    (Rest    thou    finest 
Zauberelockchen       (The      Enchanted   Luck  of  Earth) ;    No.  37,  Wine  and 
UttiTS     For  4  end  several  Male   Love;    No.   38.   Der   Entfernten    (To 
Voices   m   Chorus,   with   Acoompam-   t^«  f^^Sweetheart) ;   No.  39,  Ix.b  der 
ment   of  Stringed   and   Wind-Instru-    Emsamkeit    (Praise   of   Loneliness   ; 
^f!L.    Vn     1     Niffht    Sons    in    the   No.  40,  An  den  Frflhling  (To  Spring) ; 
w^/"  n^     1S9     No    2    Ehmine   an   No.   41,   Tomb   and   Moon;     No.   42, 
Wood,    Op.    13?,'.^^°-,^_fy™ir  the    Hymne     No.  43,  Wer  ist  gross?    Cafl- 
den    heihgen    «"«*    .(^°    *°  *^   Utewith  orchestral  Accompauiment; 


No.   4'  "*«  ^°"''°!°Tj^"'g'=  Die^Nach-  the  Spirits  over  the  Waters);  No. 46, 

lage),  Op  11,  No  1;   No.  5  Die  JNa^n  ^grfehen    (The   small   Village), 

tigall   (the  Nightingale),  Op.  Ih^o  v         ^^^   Orchestral 

2;     No    6,   Geiat  der  Lirte    (^ves  ^          .^g„^.       ^o.     1,     Lazarus 

Genius)    Op.  11,  No   3     No   7,^ run  ^    j.          ^^     g      Cantata     in 

ll"S'^i'"^4^f™^.!,,«^VEnio™t   of  hono™of  J.  Spendou,  Op.  128;  No.  3, 

No    8,   Naturgenuss    (Enjoyment  "i  ^^^  Emperor's  Birthday,  Op.  157; 

Nature)    Op.  ^^'J^^rlnAolieT)      Op.  No.  4,  Cantate  zur  Namensfeier  des 

Gondelfahrer    (The    Gondolier),    up  ,    ^^^^^^^   j^,   tj^^  Name-day 

No!   it'zir  X  Ct  S-  si;  of  the  Father) ;   No.  6.  Glaube.  m&. 


SCEtTBEBT  602  SCHUBERT 

nung    u.    Liebe     (Faith,    Hope,    and  deckt   den   Hain";     No.    25,    Canon, 

Love).     With  Piano  Accompamment:  "Der    Schnee     zerrinnt";      No.    26, 

No.  6,  Gott  im  Ungewitter,  Gott  der  Canon,  "Liebe  sauseln  die  Blatter"; 

Weltschopfer;    No.  7,  Hymne  an  den  No.  27a,  Canon,  "  Willkommen,  Lieber, 

Unendlichen(Godin    thunder-storm);  achSner  Mai";    No.  27b,  Canon,  The 

No.  8,  God  the  Creator  of  the  World  same     Text,     another     arrangement; 

(Hymn  to  the  Infinite),  Op.  112;  No.  No  28a,  Canon,  "Lacrimosa  son  io"; 

9,  Miriam's  Song  of  Victory,  Op.  136;  No.  28b,  Canon,  The  same  Text,  an- 

No.    10,   Prayer,    Op.    139;     No.    11,  other  arrangement;    No.  29,  Sanctus; 

Quartet,   Op.    146;     No.    12,   To    the  Nos.  30-34,  Five  Duets   (also  for  two 

Sun;     No.    13,   Lebenslust    (Love   of  Bugle-horns)  :    Frflhlingslied    (Spring 

Life);    No.  14,  The  Dance;    No.  15,  Song),    Mailied     (May    Song),    Der 

Cantata:;    No.  16,  Funeral  Song;   No.  Morgenstern     (The    Morning    Star), 

17,    Easter    Song.      Without    Accom-  Jagedlied    (Hunter's  Song),  LUtzow's 

paniment:     No.   18,    Chorus    of    the  wilde    Jagd     (Lutzow's    Temerarious 

Angels     (from    "Faust");     No.    19,  Volunteers);        No.       35,       Schmerz 

The    92d  Psalm.      For  3  and    more  verzerret     ihr     Gesicht;       No.     36, 

Female    Voices,    with   Piano    Accom-  Singubungen.     For   one   Voice,   with 

paniment:    No.  1,  Coronach,  Op.  52;  Piano      Accompaniment  :      Complete 

No.  2,  The  23d  Psalm,  Op.  132;    No.  Ballads  and  Songs,  10  volumes  in  all. 

3,  God  in  Nature,  Op.   133;    No.   4,  TJnfinish.ed    or    Imperfect    Works: 

Standchen      (Serenade),     Op.      135;  No.  1,  Overture  in  B  flat  for  Orchea- 

No.  5,  Life;   No.  6,  Klage  um  Ali  Bey  tra;    No.  2,  Overture  in  D  flat  for 

(Complaint  about  Ali  Bey).     For  3  Orchestra;     No.    3,    Concertpiece   for 

Voices  (Terzettos),  with  Accompani-  Violin  and  Orchestra;    No.  4,  Rondo 

mere*;    No.    1.   Die   Advokaten    (The  for  Violin  and  string  quartet;    No.  5, 

Lawyers),  Op.  74;    No.  2,  Der  Hoch-  Trio  for  Violin,  Violo  and 'cello;  No. 

zeitsbraten    (The   Wedding-meal), Op.  6,  Overture  in  G  for  Piano  Duet;   No. 

104;      No.     3,     Cantata     for    Vogl's  7,  Overture  to   "  Fierrabras "  for  Piano 

Birthday,  Op.    158;    No.   4,   Cantata  Duet;    No.  8,  Sonata  in  B  major  for 

for    the    Name-day    of  the    Father;  Piano;   No.    9,  Sonata  in  D flat  major 

No.    5,    Cantata     ("Giitigster,    Bes-  for  Piano;   No.  10,  Sonata  in  F  sharp 

ter");    No.  6,  Das  Abendroth    (The  minor  for  Piano;    No.  11,  Sonata  in 

Evening-red);      No.     7,     Punschlied  C  major  for  Piano;    No.   12,  Sonata 

(Pimch    Song) ;     No.    8,    Drinklied  in  F  minor  for  Piano;   No.  13,  Sonata 

(Drinking     Song).        Without     Ac-  in  C  sharp  minor  for  Piano;    No.  14, 

companim,ent :       No.      9,      Terzetto,  Sonata  in  C  major  for  Piano;   No.  15, 

"Vorliber     die     stiihnende     Klage";  Morceau  de  Piano  in  C major;  No.  16 

No.     10,     Terzetto,     "  Dessen     Fahne  Allegretto  in  C  minor  for  Piano ;   No. 

Donnerstttrme " ;     No.    11,    Sterzetto,  17,  Allegretto  in  C  major  for  Piano; 

"Hier       umarmen       sich       getreue  No.  18,  Allegro  moderate  in  C  major 

Gatten";       No.      12,      Selig     durch  for  Piano;    No.   19,  Andantino  in  C 

die   Liebe;     No.    13,   Wer   die    steile  major  for  Piano;   No.  20,  Allegro  and 

Sternenbahn;    No.  14,  The  two  Ways  Scherzo   for  Piano;     No.   21,  Adagio 

of    Virtue ;     No.     15,    Bardengesang  in  C  major  for  Piano ;   No.  22,  Adagio 

(Minstrel's  Song);    No.  16,  "Grfiner  in   G   major   for   Piano;    No.   23,   12 

wird  die  Au";    No.  17,  Trinklied  im  Viennese  German  Dances  for  Piano; 

Mai  (Drinking  Song  in  May) ;  No.  18,  No.    24,    Menuetto   in    A   major   for 

Trinklied  im  Winter;    No.  19,  Fruh-  Piano;    No.  25,  Menuetto  in  E  major 

lingslied,  "Die  Luft  ist  blau";   No.  for  Piano;    No.  26,  Menuetto   in  D 

20,  Todtengraberlied  (Sexton's  Song) ;  major   for   Piano;     No.   27,   Menuett 

No.     21,     Verschwunden     sind     die  in    C    sharp    minor    for   Piano;    No. 

Sehmerzen;     No.   22,   Terzetto,   "Un-  28,  Two  Menuetto  for  Piano;   No.  29, 

endl.      Freude";     No.    23,    Terzetto,  Eight  Ecossaises  for  Piano;    No.  30, 

"  Dreif ach  ist  d.  Schritt  der  Zeit";  Three  Ecossaises  for  Piano;    No.  31, 

No.    24,    Canon,    "Goldner    Schein  Album  Leaves  for  Piano.     Vocal 


SCHUBERT                     603  SCHULTHESITTS 

Music:     No    32,    Tantum    ergo    for  Madgeburg  Stadt  Theatre  at  16.    B. 

Ohorus  and  Orchestra;    No.  33,  Offer-  Madgeburg,  April  18,  1806;    d.  1850, 

tormm  for  a  Tenor  voice.  Chorus  and  St.  Petersburg.    Carl  composed  cham- 

Orehestra;    No.  34,  Song  of  the  spirits  ber  music  and  lor  'cello;    became  solo 

over  the  waters;    No.  35,  Fisherman's  'cellist  to  the  Czar,  1835;    and  served 

Song,    for    Male    Chorus;     No.    36a,  20  years  as  conductor  court  orchestra; 

Spring  Song,  for  Male  Chorus;    No.  director  of  music  at  university  and 

36b,  Spring  Song,  for  one  voice  and  inspector  Imperial  Dramatic  School; 

Piano;     Nos.   37-43,  Trios  for  three  pupil  of  his  father,  GOTTLOB,  and  of 

male  voices;   No.  44,  The  Battle,  Can-  Hesse   for   'cello.     B.   Feb.   25,   1811. 

tata.     Ferdinand     was     the     elder  Madgeburg;   d.  July  22,  1863,  Zurich, 

brother    of    the    great    composer,    to  Friedrich    Wilhelm    August    took 

whom  he  was  greatly  devoted ;    com-  over  the  Hamburg  publishing  business 

posed    church  music,    a    requiem  for  founded  by  his  brother,  JULIUS  FER- 

FRANZ;      directed    Vienna    Normal  DINAND   GEORG,   1854,  which  was 

School.      B.    1794,    Lichtenthal,   near  thereafter    known    as    Fritz    Schu- 

Vieuna;     d.   1859,  Vienna.  berth's;     founded     "  Liszt-Schuberth 

Schubert      (Franz)      composed  Stiftung,"  Weimar,  1872.    B.  Oct.  27, 

"  L'Abeille  "  for  violin,  studies,  a  duo  1817,  Madgeburg.     In  1908  the  New 

for  violin  and  piano,  concertante  for  York   house  bearing  this   name   was 

violin  and  'cello;    was  concertmeister  owned  by  J.  H,  F.  Meyer, 

at  Dresden.     B.  July  22,  1808,  Dres-  Schuch,    von    (Ernst)    became 

den;     d.    April    12,    1878,    Dresden,  ohapebnaster   at   Dresden,    1872,   and 

Uaschinka  sang  sop.  at  Dresden  and  shortly  afterwards  court   chapelmas- 

London  Operas.     B.  Aug.  25, 1815 ;  m.  ter;    ennobled  by  Austrian  emperor, 

Franz;    d.  Sept.  20,  1882,  Dresden.  1897;    played  violin  in  public  at  7; 

Schubert  (Louis)  taught  singing;  pupil  of  Stolz  and  DessofiF.     B.  Nov. 

composed  four  operettas  and  a  method  23,  1847,  Graz;   add.  Dresden.    Clem- 

for  voice;    was  concertmeister  at  Ko-  entine   Frochazka  or  Froska  sang 

nigsberg.     B.  Dessau,  Jan.  27,  1828;  sop.  in  concerts  and  opera ;   "Eva  "in 

d.  Sept.  17,  1884,  Dresden.  "  Meistersinger,"  1884;    pupil  of  Ma- 

Schuberth  (Gottlob)  played  clari-  thilde  Marchesi,  Vienna  Conservatory, 

net  and  oboe  at  Madgeburg;    violin  B.    Feb.    12,    1853,   Vienna;     retired, 

pupil  of  Stamitz.     B.  Aug.  11,  1778,  1895. 

Carsdorf ;  d.  Feb.  18,  1846,  Hamburg.  Schulhofl  (Julius)  composed  a 
Julius  Ferdinand  Oeorg  founded  the  Galop  di  Bravura,  sonata  in  F  minor, 
music  publishing  business  known  as  12  €tudes,  and  other  piano  music; 
J.  Schuberth  &  Co.,  Hamburg,  1826;  played  piano,  touring  Europe  success- 
opening  a  branch  in  Leipsic  six  years  fully;  taught  in  Dresden  and  Berlin; 
later,  and  in  New  York,  1850,  and  in  pupil  of  Kisch  and  Thomaschek.  B. 
1854  turned  the  Hamburg  house  over  Aug.  2,  1825,  Prague;  d.  Mar.  13, 
to  his  brother  FRIEDRICH.      There-  1898,  Berlin. 

after  he  divided  his  time  between  New  Schultergeige.      Oer.      "  Shoulder 

York  and  Leipsic,  edited  and  published  fiddle"  or  violin,  opposed  to  the  Knie- 

musical  papers,  a  Musikalisches  Kon-  gelge  or  viol  da  gamba,  played  between 

versatibns    Lexicon,    and    established  the  knees. 

the  Norddeuts'cher  Musikverein  and  Schultheiss  (Benedict)  composed 
Preis  Institut  at  Hamburg.  B.  July  chorales  still  sung  in  Evangelical 
14,  1804,  Madgeburg;  son  of  GOTT-  churches;  played  organ  Nuremberg 
LOB;  d.  June  9,  1875.  In  1891,  the  Egidiuskirche.  D.  1693. 
business,  which  had  been  carried  on  Schulthesius  (Johann  Paul)  wrote 
by  his  widow,  was  sold  to  F.  Siegel.  on  church  music;  composed;  was 
Iiudwig  composed;  conducted  Ger-  Protestant  clergyman  of  German  con- 
man  opera  at  St.  Petersburg;  pupil  gregation  at  Leghorn;  pupil  of  Kehl 
of  his  father,  GOTTLOB,  and  of  Von  and  Checchi.  B.  Sept.  14,  1748,  Fech- 
Weber;    he    was    conductor    at    the  heimj    d.  April  18,  1816,  Leghorn. 


SCHULZ 


604 


SCHUMANIT 


Schulz  (Johanii  Abraham  Feter) 
eomposed  "Clarisse,"  1775;  "La  ffe 
UrgSle,"  1782,  "Le  Barbier  de  Se- 
ville," and  other  operas,  sacred  music, 
many  still  popular  songs;  wrote  on 
theory;  was  chapelmaster  at  Copen- 
hagen, 1787-94;  pupil  of  Kirnberger, 
Berlin.  B.  Mar.  30,  1747,  Lilneberg; 
d.  June  10,  1800,  Schwedt. 

Schulz  or  Schultz  (Ilicliael)  was 
better  known  as  PRAETORIUS.. 

Schiilze  (J.  P.)  made  organs  in 
Thuringia  from  1825,  building  those  in 
the  Bremen  and  Solingen  Cathedrals 
and  Lubeck  Marienkirche.  B.  1794, 
Milbitz-bei-Paulinzslla;  d.l858.  Hein- 
rich  Edmund  continued  the  business 
established  by  his  father,  J.  F.,  taking 
two  brothers  into  partnership,  when 
the  house  was  known  as  J.  F.  Schulze 
&  Sobne,  erected  many  important  or- 
gans in  England  and  on  the  Continent. 
B.  1824;    d.  1878. 

Schumann  (Bobert  Alexander) 
composed  choral  settings  of  Byron's 
"  Manfred,"  Moore's  "  Paradise  and 
the  Peri,"  the  opera  "GENOVEVA," 
"Scenes  from  Goethe's  "Faust,"  songs 
comparable  to  those  of  Schubert,  whom 
he  greatly  admired;  the  greatest  of 
piano  quintets,  four  symphonies,  piano 
music  of  the  best  type;  aspired  to  be 
the  greatest  pianist  of  his  generation, 
but  so  crippled  his  hand  by  a  rash  ex- 
periment that  he  was  obliged  to  re- 
nounce this  career;  became  the  great- 
est of  music  critics  among  composers, 
and  the  greatest  composer  among  mu- 
sic critics.  Son  of  Friedrioh  August 
Gottlob  Schumann,  a  book  seller,  and 
his  wife,  Johanna  Christiana,  born 
Schnabel,  the  future  composer  was  in- 
ducted into  the  mysteries  of  author- 
ship at  14,  helping  his  father  in  writ- 
ing a  biographical  work.  After  some 
lessons  in  music  from  the  town  trum- 
peter of  Zwickau,  he  studied  piano 
with  J.  G.  Kuntzsch,  organist  of  the 
Marienkirche,  but  although  he  had 
begun  to  compose  at  seven,  until  ten 
years  later,  when  he  entered  Iveipsic 
University,  his  opportunities  of  ac- 
quiring a  working  knowledge  of  music 
were  very  limited.  He  had  begun 
the  study  of  law  in  deference  to  his 
mother's  wishes,  and  he  professed  to 


resume  that  study  a  year  later  at 
Heidelberg,  but  devoted  the  greater 
part  of  his  time  to  music,  and  to  the 
poems  of  Sonnenberg,  Byron,  and  es^ 
pecially  to  the  sentimentalities  of  Jean 
Paul.  For  seven  hours  daily  he  prac- 
ticed at  the  piano,  and  was  cordially 
received  on  his  single  appearance  in 
Heidelberg  as  a  concert  pianist.  In 
1830,  having  overcome  his  mother's 
aversion  toward  music  as  a  profes- 
sion, Schumann  left  Heidelberg  for 
Leipsie,  where  he  had  already  formed 
the  acquaintance  of  Wieck.  Living  in 
the  home  of  this  talented  musician, 
the  young  man  received  piano  lessons 
from  his  host,  studied  theory  with 
Dorn,  and  in  course  of  time  fell  madly 
in  love  with  Wieok's  daughter  Clara, 
who  after  became  his  wife,  and  the 
most  skilful  of  interpreters  of  Us 
piano  compositions.  Hardly  a  year 
had  elapsed  when  an  appliance  he  had 
invented  to  hold  the  third  finger  mo- 
tionless while  practicing  with  the  rest 
permanently  injured  that  finger,  and 
for  a  time  crippled  his  whole  hand. 
Then  it  was  that  he  gave  himself  up 
to  creative  worlc.  Up  to  his  21st  year 
his  most  important  compositions  had 
been  a  few  songs,  some  of  which  were 
to  his  own  verses;  but  he  soon  at- 
tempted a  piano  concerto,  which  was 
never  completed,  and  a  symphony  in 
G.  Clara  Wieck,  then  a  child  of  13, 
played  the  first  movement  of  the  sym- 
phony on  the  piano,  Nov.  18,  1832,  at 
Zwickau,  arousing  immediate  interest 
both  in  the  composer  and  herself. 
Schumann  divided  his  time  between 
Zwickau  and  Leipsie  for  several  years, 
cultivating  his  powers  of  expression 
as  composer  and  author,  and  matur- 
ing his  plans  for  the  publication  of  a 
musical  journal.  In  1834  he  began 
to  issue  the  "Neue  Zeitschrift  fur 
Musik "  at  Leipsie,  and  soon  became 
proprietor  of  this  journal,  and  con- 
tinued to  edit  it  for  the  next  ten  years, 
and  using  the  power  thus  gained  to  aid 
Chopin,  Berlioz,  Brahms,  and  other 
musicians  in  their  fight  for  recogni- 
tion. It  was  in  his  journal,  the  power 
of  which  can  hardly  be  appreciated  in 
these  da,ys  of  standardized  periodicals, 
that  he  created  that  imaginary  "  Sav- 


SOSUMANTSI 


605 


SCHXTMANN 


idsbundler  "  with  which  to  make  war 
on  the  Philistines,  of  art.  As  an  editor 
and  critic  he  was  generally  sound  in 
his  views,  always  fair,  always  unself- 
ish, prone  to  enthusiasm,  and  actu- 
ated by  the  noblest  ideals.  The  "  Car- 
naval  "  and  the  "  fitudes  Sympho- 
niques  "  were  begun  in  1834,  but  were 
laid  aside  temporarily  because  of  the 
press  of  literary  work,  but  from  1836 
to  1839,  during  which  time  Schumann 
was  sole  editor  of  the  "Neue  Zeit- 
schrift,"  date  many  of  his  best  piano 
works,  including  the  F  minor  sonata, 
"Kreisleriana,"  "  Fantasiestucke,"  the 
Fantasia,  Op.  17,  the  "  Davidsbundler- 
tanze,"  and  "  Hmnoresque."  Mendels- 
sohn, David,  Moscheles,  and  other  no- 
table musicians  of  the  period  were  to 
be  found  at  Wieck's  house,  and  Schu- 
mann, although  of  a  retiring  and  taci- 
turn nature,  mingled  freefy  in  this 
congenial  society.  In  1835  he  had 
awakened  to  his  love  for  Clara  Wieck, 
and  two  years  later  formally  asked 
her  hand;  but  Wieck,  who  may  have 
suspected  Schumann's  fragile  mental 
temperament,  opposed  their  union,  and 
put  him  off  as  long  as  possible.  In 
1838  he  removed  the  "  Neue  Zeit- 
schrift"  to  Vienna,  publishing  it  in 
that  city  for  a  short  time,  but  soon 
returning  to  Leipsic.  Wieck  remained 
obdurate  regarcdng  the  marriage  of 
his  daughter  to  Schumann,  but  the 
young  people  were  eqiially  bent  upon 
it,  and  Schumann  instituted  a  law  suit 
which  resulted  in  a  decree  in  his  fa- 
vour, and  on  Sept.  12,  1840,  they  were 
married  in  Sohoenefeld,  near  Leipsic. 
His  love  for  this  gifted  pianist  seems 
to  have  been  his  chief  inspiration,  and 
for  the  next  four  years  he  composed 
with  greater  facility  and  in  greater 
quantity  than  ever,  and  dedicated  to 
his  wife  the  great  piano  quintet,  which 
was  first  performed,  Jan.  8,  1843,  at 
the  Gewandhaus,  the  composer's  wife 
at  the  piano.  This  composition  was 
the  first  to  win  universal  acknowledg- 
ment of  the  composer's  merit  through- 
out Europe.  "  Paradise  and  the  Pen, 
and  the  music  for  "  Faust "  date  from 
the  same  year.  In  1844  he  resigned 
the  editorship  of  the  "Neue  Zeit- 
Bchrift,"  but  taught  in  the   Leipsic 


Conservatory,  newly  founded  by  his 
friend  Mendelssohn;  accompanied  his 
wife  on  her  Russian  tour,  and  then 
abandoned  Leipsic  for  Dresden,  where 
he  lived  in  seclusion,  attempting  to 
overcome  an  attack  of  severe  nervous 
exhaustion.  There  he  was  on  good 
terms  with  Wagner,  and  there  he  com- 
posed his  C  major  symphony.  Op.  60, 
and  in  1847  began  work  on  the  opera 
"  Genoveva."  He  abandoned  the  use 
of  recitative  in  this  work,  and  when  it 
was  produced  under  his  own  direction, 
Jime  25,  1850,  at  Leipsic,  it  proved  a 
failure.  The  "  Faust  "  music,  which 
he  had  at  length  completed,  had  been 
well  received,  however,  and  Schumann, 
far  from  discouragement,  manifested 
renewed  activity.  "Manfred,"  his 
next  most  important  work,  was 
given  with  stage  setting  in  1852 
by  Liszt  at  Weimar,  and  he  busied 
himself  with  piano  works,  and  the 
E  flat  symphony  "Rhenish,"  and 
with  "The  Pilgrimage  of  the  Rose," 
and  other  vocal  pieces.  In  1850 
Schumann  became  chapelmaster  at 
Diisseldorf  in  succession  to  Hiller, 
and  removed  to  that  city,  where  he 
conducted  the  Lower  Rhine  festival 
of  1853.  He  had  never  been  espe- 
cially gifted  as  a  conductor,  and 
failing  health  soon  necessitated  his 
retirement  from  all  such  strenuous 
tasks.  Almost  his  last  act  of  impor- 
tance to  the  musical  world  was  to 
write  an  earnest  commendation  of 
Brahms  in  the  "Neue  Zeitschrift," 
Oct.  18,  1853.  In  1854,  while  in  a  fit  of 
mental  depression,  the  composer  threw 
himself  into  the  Rhine,  and  although 
he  was  rescued  by  some  boatmen,  he 
was  thereafter  an  inmate  of  an  asylum 
at  Endemich,  near  Bonn.  He  sur- 
vived two  years  more,  and  had  occa- 
sional lucid  intervals,  during  which 
he  gladly  received  his  friends  and  rela- 
tives, but  as  a  musician,  his  career 
was  at  an  end.  More  fortunate  than 
many  of  the  great  composers  in  hav- 
ing never  known  want,  Schumann  was 
especially  happy  in  his  family  life,  and 
was  a  man  of  unusual  culture  in  many 
lines.  As  a  literary  man  he  was 
chiefly  interested  in  music,  and  it  is 
in  his  own  writings,  and  in  the  col- 


SCHUMANN  606  SCETTMANN 

lections   of  letters,   that  he  may   be  in    G   minor;    No.    6,    Fantasias    for 

studied   to   the   best   advantage.     B.  Piano,  Violin,  and  'Cello,  Op.  88  in 

June  8,   1810,   Zwickau,   Saxony;    d.  A  minor  F,  D  minor,  A  minor;   No.  7, 

July    29,    1856.      See    biography    by  Fairy    Tales,    4    Pieces    for    Clarinet 

Wasielewski,  1858;    Reissmann,  1865;  (ad.   lib.   Violin),   Viola,  and  Piano, 

Reimann,     1887;     Waldersee,     1880;  Op.  132,  in  B  flat,  G  minor,  G,  B  flat. 

Spitta,  1882;    Richard  Aldrich;    and  Duets:   No.  8,  Adagio  and  Allegro  for 

the   letters   collected   by   Dr.    Storck,  Piano   and  "Horn    (ad   lib.   'Cello   or 

Eng.    trans.,    Hannah    Bryant,    1907.  Violin),  Op.  70  in  A  flat;   No.  9,  Fan- 

Breitkopf  &  Hartel  published  a  com-  tasias    for    Piano   and    Clarinet    (ad 

plete    edition    of    his    works,    edited  lib.  Violin  or  'Cello),  Op.   73,  in  A 

chiefly    by    Clara    Wieck    Schumann,  minor.  A,  A;    No.   10,  First  Sonata 

from  which  the  following  catalogue  is  for  Piano  and  Violin,  Op.   105  in  A 

taken:   Orchestral  Works.    Sympho-  minor;    No.  11,  Second  Grand  Sonata 

nies:   No.  1,  First  Symphony,  Op.  38  for  Violin  and  Piano,  Op.   121  in  D 

in  B  flat;    No.  2,  Second  Symphony,  minor;    No.    12,    Fairy    Pictures,    4 

Op.  61  in  C;   No.  3,  Third  Symphony,  Pieces  for  Piano  and  Viola    (ad  lib. 

Op.  97  in  E  flat;   No.  4,  Fourth  Sym-  Violin),  Op.  113;    No.  13,  Three  Eo- 

phony.  Op.  120  in  D  minor;    No.  4a,  mances  for  Hautboy  (ad  lib.  Violin) 

Fourth  Symphony,  Op.  120  in  D  minor,  and   Piano,   Op.   94   in  A  minor.  A, 

Overtures:    No.  1,  Overture,  Scherzo,  A  minor;    No.  14,  Five  Pieces  in  the 

and  Finale,  Op.  52  in  E;   No.  2,  Over-  Popular  Mode  for  'Cello  (ad  lib.  Vio- 

ture  to  Grenoveva,  Op.  81  in  C  minor;  lin)  and  Piano,  Op.  102.    One  or  two 

No.  3,  Overture  to  the  Bride  of  Mes-  Pianos,  for  ^  Hands.     Two  Pianos,  4 

sina.  Op.  100  in  C  minor ;   No.  4,  Over-  Hands:    No.   1,  Andante  and  Varia- 

ture  to  Manfred,  Op.  115  in  E  flat;  tions,  Op.  46  in  B  flat.    Piano  Duets: 

No.  5,   Festival  Overture  with  song.  No.  2,  Oriental  Pictures,  six  Impromp- 

Op.    123    in   C;    No.    6,   Overture   to  tus.    Op.    66;    No.    3,    Twelve    Piano 

Julius  Caesar,   Op.   128  in  F  minor;  Pieces  for  4  Hands  for  Young  and  Old, 

No.  7,  Overture  to  Hermann  and  Doro-  1st  Part,  Op.  85 ;    No.  4,  Ball  Scenes, 

thea.   Op.    136   in    B   minor;    No.    8,  Op.   109;    No.  5,  Children's  Ball,  six 

Overture  to  Goethe's  Faust  in  D  minor,  easy  Dances,  Op.    130.     Piano  Solo: 

Concertos:  No.  1,  Fantasia  for  Violin,  No.     1,     Variations     on     the     name 

Op.   131   in  C;    No.   2,  Concerto  for  "  Abegg,"  Op.  1  in  F;    No.  2,  Papil- 

'cello.  Op.   129  in  A  minor;    No.  3,  Ions,  Op.  2;    No.  3,  Studies  after  Pa- 

Concert-piece  for  4  Horns,  Op.  86  in  ganini's  Caprices,  Op-  3;    No.  4,  In- 

F;    No.  4,  Concerto  for  Piano,  Op.  54  termezzi.  Op.  4;    No.  5,  Impromptus 

in  A  minor;    No.  5,  Introduction  and  on  an  Air  by  Clara  Wieck,  Op.  5  in 

Allegro    Appassionato,    Concert-piece  C ;   No.  6,  The  Davidsbundler,  18  Char- 

for  Piano,  Op.  92  in  G;    No.  6,  Con-  acteristic  Pieces,  Op.  6;    No.  7,  Toc- 

oert- Allegro    with     Introduction    for  cata,  Op.  7  in  C;    No.  8,  Allegro,  Op. 

Piano,  Op.  134  in  D  minor.    Chamber  8  in  B  major;  No.  9,  Carnival,  Pretty 

Music.     String  Instruments:    Three  Scenes,  on  4  notes,  Op.  9;   No.  10,  Six 

Quartets    for    2    Violins,    Viola,    and  Concert-Studies  after  Paganini's  Ca- 

'Cello,    Op.    41    in   A   minor,    F,    A.  prices,  Op.  10;   No.  11,  Grand  Sonata 

Piano  Music.     Piano  and  other  In-  No.  1,  Op.  11  in  F  sharp  major;    No. 

struments.    Quintet:   No.    1,   Quintet  12,  Fantasias,  Op.  12 ;  No,  13,  Studies 

for  Piano,  2  Violins,  Viola,  and  'Cello,  in    form    of    Variations    ( Symphonic 

Op.  44  in  E  flat.     Quartet:    No.   2,  Studies),  Op.   13  in  C  sharp  minor; 

Quartet  for  Piano,  Violin,  Viola,  and  No.  14,  Grand  Sonata  No.  3,  Op.  14 

'Cello,  Op.  47  in  E  flat.    Trios:  No.  3,  in     F     minor;     No.     15,     Children's 

First    Trio    for    Piano,    Violin,    and  Scenes,  Op.  15;    No.  16,  Kreisleriana, 

'Cello,   Op.   63   in  D   minor;    No.   4,  Op.  16;    No.  17,  Fantasia,  Op.  17  in 

Second  Trio   for   Piano,   Violin,   and  C;    No.  18,  Arabesque,  Op.  18  in  C 

'Cello,  Op.  80  in  F;   No.  5,  Third  Trio  No.  19,  Flower  Piece,  Op.  19  in  B  flat 

for  Piano,  Violin,  and  'Cello,  Op.  110  No,  20,  Humoresque,  Op.  20  in  B  flat 


SCHTIMANN                  607  SCHtT3liIAITN 

No.  21,  Novellettes,  Op.  21;    No.  22,  by  Ludwig  Uhland  for  Solo  Voices, 

Sonata  No.  2,  Op. 22  in  G minor;  No.  Chorus,  and  Orchestra,  Op.  116;    No. 

23,  Night  Visions   (Nachtatucke),  Op.  11,  Five  Songs  from  Laube's  "Jagd- 

23;   No.  24,  Carnival  Prank  of  Vienna,  brevier"  for  four-part  Chorus  of  male 

Op.  26  in  B  flat;    No.  25,  Three  Ro-  Voices     (with    accompaniment    of    4 

mances.  Op.  28  in  B  flat,  F  sharp,  B;  Horns  ad  lib.).  Op.  137;   No.  12,  The 

No.  26,  Scherzo,  Gigue,  Romance,  Fu-  Minstrel's     Imprecation,     Ballad    by 

ghetta,  4  Piano  pieces.  Op.  32;    No.  Ludwig  Uhland  arranged  by  Richard 

27,  Studies  for  the  Pedal  Piano,  6  Pohl  for  Solo  Voices,  Chorus,  and 
pieces  in  form  of  canon,  Op.  56;    No.  Orchestra,    Op.    139;     No.    13,    Page 

28,  Sketches  for  Pedal  Piano,  Op.  58;  and  King's  Daughter,  four  ballads 
No.  29,  43  Piano  Pieces,  Op.  68;  No.  by  Em.  Geibel  for  Solo  Voices, 
30,  Four  Fugues,  Op.  72  in  D  minor.  Chorus,  and  Orchestra,  Op.  140; 
D  minor,  F  minor,  F;  No.  31,  Four  No.  14,  The  Luck  of  Edenhall,  ballad 
Marches,  Op.  76  in  E  flat,  G  minor,  by  Ludwig  Uhland,  arranged  by  Hasen- 
B  flat,  E  flat;  No.  32,  Forest  Scenes,  clever  for  male  Voices,  Solo  Voices, 
9  Piano  Pieces,  Op.  82 ;  No.  33,  Varie-  and  Chorus  with  orchestral  accom- 
gated  Leaves,  Op.  99;  No.  34,  Three  paniment.  Op.  143;  No.  15,  New 
Fantasias  for  Piano,  Op.  Ill  in  C  Year's  Song  by  Fr.  Rfickert,  Chorus 
minor;  A  flat,  C  minor.  No.  35,  with  orchestral  accompaniment,  Op. 
Three  Piano  Sonatas  for  the  Young,  144;  No.  16,  Masse  for  four-part 
Op.  118  in  G,  D,  C;  No.  36,  Al-  Chorus  with  orchestral  accompani- 
bum  Leaves,  20  Piano  Pieces,  Op.  ment.  Op.  147;  No.  17,  Requiem  for 
124  ;  No.  37,  Seven  Pieces  in  Chorus  and  Orchestra,  Op.  148;  No. 
Fughetta  form.  Op.  126;  No.  38,  18,  Scenes  from  Goethe's  Faust  for 
Morning  Songs,  5  Pieces,  Op.  133.  Solo  Voices,  Chorus,  and  Orchestra. 
Organ  SEusic.  Eighth  Series:  Six  Vocal  Works  for  Several  Voices  loith 
Fugues  on  the  name  "  Bach "  for  Or-  Piano  Accompaniment :  No.  1,  Four 
gan  (or  Piano  with  pedal).  Op.  60.  Duets  for  Soprano  and  Tenor,  Op.  34; 
Vocal  IVEusic.  Larger  Choral  Works  No.  2,  Three  Songs  for  two  Voices,  Op. 
with  accompaniment  of  the  Or-  43;  No.  3,  Four  Duets  for  Soprano 
chestra  or  of  several  Instruments:  and  Tenor,  Op.  78;  No.  4,  Maiden's 
No.  1,  Paradise  and  Peri  for  Solo  Songs  by  E.  Eulmann  for  two  Soprano 
Voices,  Chorus,  and  Orchestra,  Op.  50 ;  Voices  (or  Soprano  and  Alto),  Op. 
No.  2,  Advent  Song  for  Soprano-  103;  No.  5,  Three  Poems  by  Em. 
Solo  and  Chorus  with  orchestral  Geibel  for  several  Voices,  Op.  29 ;  No. 
accompaniment.  Op.  71;  No.  3,  6,  Romances  for  female  Voices  with 
Genoveva,  Opera  in  4  Acts,  Op.  81;  piano  accompaniment  ad  lib.  (1st 
No.  4,  Farewell  Song  for  Chorus  with  Part),  Op.  69;  No.  7,  Romances  for 
accompaniment  of  2  Flutes,  2  Haut-  four  female  Voices  with  piano  accom- 
boys,  2  Clarinets,  2  Bassoons,  and  paniment  ad  lib.  (2d  Part),  Op.  91; 
2  Horns,  or  of  the  Piano,  Op.  84 ;  No.  No.  8,  Spanish  Liederspiel  for  one  and 
5,  "  Do  not  despair  in  the  valley  of  several  Voices  ( Soprano,  Alto,  Tenor, 
sorrow,"  Motet  for  double  Chorus  of  and  Bass),  Op.  74;  No.  9,  Minnespiel 
male  voices  with  accompaniment  of  from  Fr.  Rtickert's  Spring  of  Love  for 
the  Organ  ad  lib..  Op.  93;  No.  6,  Re-  one  and  several  Voices  (Soprano,  Alto, 
quiem for  Mignon from  Goethe's "Wil-  Tenor,  and  Bass),  Op.  101;  No.  10, 
helm  Meister"  for  Chorus,  Solo  Voices,  Three  Songs  for  Three  female  Voices, 
and  Orchestra,  Op.  98b;  No.  7,  Night  Op.  114;  No.  11,  Spanish  Love-songs 
Song  for  Chorus  and  Orchestra,  Op.  for  one  and  several  Voices  (Soprano, 
108;  No.  8,  The  Rose's  Pilgrimage,  Alto,  Tenor,  and  Bass)  with  piano 
tale  from  a  Poem  by  Moritz  Horn  for  accompaniment  for  four  hands.  Op. 
Solo  Voices,  Chorus,  and  Orchestra,  138;  No.  12,  The  German  Rhine,  Pat- 
Op.  112;  No.  9,  Manfred,  Dramatic  riotic  air  for  one  Voice  and  Chorus. 
Poem  in  3  parts  by  Lord  Byron,  Op.  For  Chorus  of  Men  with  Aeoompam- 
115;    No.  10,  The  King's  Son,  Ballad  ment:  No.  1,  Six  Songs  for  four  male 


SCHUMANN  608  SCHUMANN 
Voices,  Op.  33;  No.  2,  Three  Songs  Neun,  Op.  89;  No.  24,  Six  Songs  by 
for  Chorus  of  Men,  Op.  62;  No.  3,  N.  Lenau,  and  Kequiem  (old  Catholic 
Kitornello,  Canon  for  several  male  poem).  Op.  90;  No.  25,  Three  Songs 
Voices  Op.  65.  For  Soprano,  Alto,  from  Lord  Byron's  Hebrew  Melodies, 
Tenor,  md  Bass  without  Aooompam-  with  Harp  or  Piano  accompaniment, 
ment  :  No.  1,  Five  Songs  for  Op.  95;  No.  26,  Airs  and  Songs  (4th 
mixed  Voices,  Op.  55;  No.  2,  Part),  Op.  96;  No.  27,  Airs  and  Songs 
Four  Songs  for  Soprano,  Alto,  from  Goethe's  "  Wilhelm  Meister,"  Op. 
Tenor  Baas,  Op.  59;  No.  3,  Ro-  98a;  No.  28,  Seven  Songs  by  E.  Kujm, 
mances  and  Ballads  for  Chorus  (So-  Op.  104;  No.  29,  Six  Songs,  Op.  107; 
prano,  Alto,  Tenor,  and  Bass),  1st  No.  30,  Four  Hussar's  Songs  by. 
Part  Op.  67;  No.  4,  Romances  and  N.  Lenau  for  one  Bar.  Voice,  Op. 
Ballads  for  Chorus  (Soprano,  Alto,  117;  No.  31,  Three  Poems  from 
Tenor,  and  Bass),  2d  Part,  Op.  75;  the  Forest  Songs  by  S.  Pfarrius 
No  5,  Four  Songs  with  Double  Chorus  Op.  119;  No.  32,  Five  Cheerful 
for  large  Singing  Unions,  Op.  141;  Songs,  Op.  125;  No.  33,  Five 
No.  6,  Romances  and  Ballads  for  Cho-  Airs  and  Songs,  Op.  127 ;  No.  34, 
rus  (Soprano,  Alto,  Tenor,  and  Bass),  Poems  of  Queen  Maria  Stuart,  Op. 
3d  Part,  Op.  145;  No.  7,  Romances  135;  No.  35,  Four  Songs,  Op.  142; 
and  Ballads  for  Chorus  (Soprano,  No.  36,  Fair  Hedwig,  Ballad  by  Friedr. 
Alto,  Tenor,  and  Bass),  4th  Part,  Op.  Hebbel,  for  declamation  with  piano 
146.  For  One  Voice  with  Piano  Ac-  accompaniment.  Op.  106 ;  No.  37,  Two 
companiment :  No.  1,  A  Bouquet  of  Ballads  for  declamation  with  piano 
Songs  by  H.  Heine,  Op.  24;  No.  2,  accompaniment.  Op.  122;  No.  38,  Sol- 
Myrtles,  Garland  of  Songs,  Op.  25;  dier's  Song.  Supplement,  Edited  by 
No.  3,  Airs  and  Songs  (1st  Part),  Op.  Joh.  Brahms:  No.  1,  Andante  and 
27;  No.  4,  Three  Poems  by  E.  Geibel,  Variations  for  2  Piano,  2  'Cellos,  and 
Op.  30;  No.  5,  Three  Songs  by  Ad.  v.  Horn;  No.  2,  An  Anna,  for  1  Voice 
Chamisso,  Op.  31;  No.  6,  Twelve  with  Piano  accompaniment;  No.  3, 
Poems  by  Justinua  Kerner,  Op.  35;  Im  Herbste,  for  1  Voice  with  Piano 
No.  7,  Six  Poems  from  the  Songbook  acompaniment ;  No.  4,  Hirtenknabe, 
of  a  Painter  by  Reinick,  Op.  36;  No.  for  1  Voice  with  Piano  accompani- 
8,;  Twelve  Poems  from  Fr.  Rfickert's  ment ;  No.  5,  Sommerruh,  for  2  Voices 
Spring  of  Love  by  Clara  and  Rob.  with  Piano  accompaniment;  No.  6, 
Schumann,  Op.  37;  No.  9,  A  Bouquet  Symphonie  studies  for  Piano  (Supple- 
of  Songs,  Twelve  Songs  by  J.  v.  ment  to  Op.  13 ) ;  No.  7,  Scherzo  for 
Eichendorff,  Op.  39;  No.  10,  Five  Piano  (Supplement  to  Op.  14);  No. 
Songs  for  one  low  Voice,  Op.  40 ;  No.  8,  Presto  for  Piano  ( Supplement  to 
11,  Woman's  Love  and  Life,  Selec-  Op.  22) ;  No.  9,  Thema  in  E  flat  for 
tion  of  Songs  by  Chamisso,  Op.  42;  Piano.  Clara  Josephine  Wieck  was 
No.  12,  Romances  and  Ballads  (1st  the  foremost  woman  pianist  of  her 
Part),  Op.  45;  No.  13,  Poet's  Love,  time,  one  of  the  best  of  teachers,  and 
Selection  of  songs  by  H.  Heine,  Op.  the  devoted  wife  of  ROBERT  ALEX- 
48;  No.  14,  Romances  and  Ballads  ANDER,  whose  works  she  edited,  and 
(2d  Part),  Op.  49;  No.  15,  Airs  and  whose  best  interpreter  she  was;  com- 
Songs  (2d  Part),  Op.  51;  No.  16,  posed  many  works  for  piano  in  smaller 
Romances  and  Ballads  (3d  Part),  Op.  forms,  and  a  concerto  in  A  minor, 
53;  No.  17,  Belshazzar,  Ballad  by  H.  Op.  7.  Daughter  and  pupil  of  Fred- 
Heine  for  one  low  Voice,  Op.  57 ;  erick  WIECK,  she  began  the  study  of 
No.  18,  Romances  and  Ballads  (4th  music  in  infancy,  and  made  her  debut 
Part),  Op.  64;  No.  19,  Airs  and  at  nine  as  a  pianist,  in  Leipsic,  and 
Songs  (3d  Part),  Op.  77;  No.  20,  in  1832  at  the  Gewandhaua.  The  cir- 
Alb.  of  Songs  for  the  Young,  Op.  79;  cumstances  of  her  marriage  are  suf- 
No.  21,  Three  Songs,  Op.  83;  No.  22,  ficiently  set  forth  in  the  notice  of  her 
The  Glove,  Ballad  by  Fr.  Schiller,  Op.  husband,  with  whose  work  her  life 
87;    No.  23,  Six  Songs  by  W.  v.  d.  was  closely  associated  until  his  death 


8CHTT1CAN1T 


609 


SCHtTTZ 


(he  expired  in  her  arms),  althoiigh  RASOUMOWSKY  quartette,  1808,  in 
they  had  been  occasionally  separated  which  he  played  first  violin;  with 
during  her  concert  engagements.  After  MAYSEDR,  LINK,  and  WEISS,  which 
Schumann's  death  she  lived  for  a  continued  during  his  life;  was  the 
time  in  Berlin  with  her  mother,  then  great  friend  and  viola  teacher  of  See- 
the wife  of  Bargiel;  but  while  living  thoven;  and  later  of  Schubert,  who 
in  Baden-Baden  from  1863,  she  was  dedicated  the  quartet  in  A  to  him; 
engaged  during  the  season  in  touring  played  in  the  imperial  chapel,  and 
every  part  of  Europe,  being  every-  conducted  the  court  opera;  composed 
where  well  received.  In  1878  she  violin  music.  B.  1776,  Vienna;  d. 
settled  in  Frankfort  as  piano  teacher  Mar.  2,  1830.  MMB.  KILITZKY  sang 
at  Hoch's  Conservatory.  B.  Sept.  13,  sop.  in  opera  and  concert;  m.  IGNAZ, 
1819,    Leipsic;      d.    May    20,    1896,  1808. 

Frankfort.  Schurmann  (Gteorge  Caspar)  com- 
Scliumaiin  (Oeorg  Alfred)  directed  posed  operas  performed  at  Hamburg, 
the  Berlin  Singakademie  from  1900,  a  church  cantata,  etc.;  sang.  Ham- 
in  which  year  he  was  made  royal  pro-  burg  Opera;  court  musician  to  Dukes 
fessor;  composed  a  symphony,  F  of  Brunswick  and  Meiningen,  1697- 
minor.  Op.  42;    an  earlier  symphony  1741. 

in  B  minor,  and  much  music  in  other  Schusterfleck.     6er.    ROSALIA, 

forms;   pupil  of  the  Leipsic  Conserva-  Schutt   (£duard)   composed  piano 

tory,  and  later  conductor  in  Dantzic  concerto  in  G  minor.  Op.  7,  etc.,  made 

and  Bremen.    B.  Oct.  25,  1866,  Konig-  transcriptions;       conducted     Vienna 


stein;    add.  Berlin. 
Schumann-Heink 


Akademische      Wagner-Verein      from 
(Ernestine    1878 ;   pupil  St.  Petersburg  and  Leip- 


Sossler)   sang  con.  in  opera,  debut  sic  Conservatories.    B.  St.  Petersburg, 


Oct.  13,  1878,  in  Dresden,  as  "Azu- 
cena,"  and  after  a  four  years'  en- 
gagement, joining  the  Hamburg  com- 


Oct.  22,  1856;    add.  Vienna. 

Schiitz  (Heinricb.)  composed  dra- 
matic   cantatas    to    sacred    texts    in 


pany,  where  she  sang  in  wide  reper-  which,  as  in  the  works  of  Carissimi, 
toire;  debut  as  "  Erda,"  Covent  are  the  germ  of  the  oratorio;  studied 
Garden,  London,  1892,  and  later  at  the  monodic  style  made  popular  in 
Bayreuth,  Berlin,  and  the  Metropoli-  Italy  by  Monteverde,  and  applied  it 
tan.  New  York,  rSlea  ranging  from  to  his  opera  "Dafne,"  now  lost, 
"  Carmen  "  through  all  the  Wagnerian  which  had  originally  been  intended  as 
characters  suited  to  her  voice,  and  from  an  adaptation  of  Peri's  work,  but 
1906  starring  in  America  at  the  head  included  compositions  of  Schtttz's  as 
of  a  comic  opera  company;  pupil  of  well;  happily  blended  in  his  work  a 
Marietta  Leclair.  B.  June  15,  1861,  profound  knowledge  of  polyphony  with 
Lieben  near  Prague;  m.  Herr  Heink,  the  harmonic  methods  of  the  Italian 
1883;  Paul  Schumann,  1893;  add.  renaissance,  producing  sacred  and  sec- 
New  York.  'ils.r  works  100  years  before  the  time 

Schunk'e     (Ludwig)     played    and  of  Bach  and  Handel  along  the  lines  on 

composed  for  piano;    was  associated  which  they  subsequently  worked.     In 

with  Schumann  in  the  early  publica-  1599  he  was  chorister  in  the  chapel  of 

tion    of    the    "Neue    Zeitschrift    fiir  the    Landgraf    of    Hesse-Cassel,    and 

Musik";   pupil  of  Kalkenbrenner  and  when  his  voice  broke,  began  the  study 

Reicha.     B.  Dec.  21,  1810,  Cassel;    d.  of  law,  but  his  musical  talents  were 

Dec   7    1834,  Leipsic.  so  pronounced  that,  in  1609,  he  was 

Schuppanaigh     (ignaz)     founded  sent  to  Venice  at  the  expense  of  his 

the   famous   quartet   which   bore   his  master,  to  become  a  pupil  of  Giovanni 

name,  Vienna,  1794,  and  in  which  he  Gabrieli.     Two  years  later,  ^s  first 

plaved  first  violin;    PRINCE   CARL  pubhcation,  a  book  of  five-part  mad- 

LICHNOWSKY    or.  Sina,    second  rigals  dedicated  to  the  Landgraf,  ap- 

violin-    WEISS,  viola;    and  KRAFT  peared  in  Venice,  and  in  1612  he  was 

or     zineskall,     'cello;     founded    the  again  in  Hesse-Cassel  as  court  organ- 


SCHttTZ 


610 


SCHWENCKE 


ist.  In  1614  he  became  chapelmaster 
to  the  Elector  of  Saxony  at  400  gul- 
den per  annum.  Although  his  rela- 
tions with  the  Landgraf  continued  for 
several  years,  he  was  at  last  firmly 
attached  to  Dresden,  where  he  con- 
ducted and  managed  the  opera,  and 
where,  in  1619,  he  issued  a  collection 
of  psalms  for  full  choir  with  soli  and 
orchestra.  An  oratorio  on  the  Resur- 
rection, in  1623,  and  "  Cantiones 
Sacrae "  for  four  voices  and  organ, 
show  still  further  development  to- 
ward modern  ideals.  "  Dafne  "  was 
arranged  and  composed  for  the  mar- 
riage of  the  Princess  Sophie  of  Sax- 
ony to  the  Landgraf  of  Hesse-Darm- 
stadt, and  was  performed  at  Torgau, 
April  13,  1627,  and  is  ranked  as  the 
first  German  opera.  In  1638  he  com- 
posed the  ballet  "Orpheus  und  Euri- 
dice,"  for  the  wedding  of  Johann 
Georg  II,  of  Saxony,  but  the  composer 
does  not  appear  to  have  thereafter 
attempted  dramatic  forms,  the  death 
of  his  wife  inclining  him  to  sacred 
music.  He  composed  a  four-part  set- 
ting of  Becker's  German  Psalter,  and 
during  a  second  visit  to  Italy,  1629, 
brought  out  his  "  Symphoniae  Sacrae," 
of  which  three  parts  had  appeared 
up  to  1650,  the  last  containing  the 
dramatic  cantatas  already  referred  to. 
In  1633  he  visited  the  court  of  Copen- 
hagen, and  traveled  through  the  Ger- 
man states  for  the  next  eight  years, 
then  settled  in  Dresden  again,  and  in 
1645  published  his  Passion  on  "  Die 
7  Worte  Christi  am  Kreuz,"  next  his 
"  Musicalia  ad  Chorum  Sacrum,"  1648. 
Toward  the  close  of  his  career,  he 
returned  with  renewed  affection  to  the 
polyphonic  style,  and  the  four  Pas- 
sions, which  are  the  most  notable  pro- 
duet  of  his  later  period  were  for 
voices  alone.  B.  Oct.  8,  1585,  Kos- 
tritz.  Saxony;  d.  Nov.  6,  1672,  Dres- 
den. See  biography  by  the  Spittas, 
1886.  Breitkopf  &  Hartel  publish  a 
complete  edition  of  Schutz's  surviving 
works  in  16  vols.,  of  which  the  titles 
are:  The  Resurrection  of  Christ ;  The 
Four  Passions ;  The  Seven  last  Words 
of  Christ;  The  Incarnation  of  Christ 
(as  far  as  preserved) ;  Polyphonic 
Psalms  with  Instruments,  first  part; 


Polyphonic  Psalms  with  Instruments, 
second  part;  Cantiones  sacrae  (Poly- 
phonic Latin  songs  with  basso  con- 
tinuo) ;  Symphoniae  sacrae,  first  part 
(Vocal  music  with  Instruments) ; 
Religious  Concertos,  first  and  second 
parts  (Vocal  music  with  basso  con- 
tinuo) ;  Symphoniae  sacrae,  second 
part  (Vocal  music  with  Instru- 
ments) ;  Musicalia  ad  Chorum  sac- 
rum (German  Motets),  first  part.  Op. 
XI;  The  Italian  Madrigals;  Sym- 
phoniae sacrae,  third  part,  Ist  Series 
(Vocal  Music  with.  Instruments); 
Symphoniae  Sacrae,  third  part,  2d 
Series  (Vocal  music  with  Instru- 
ments) ;  Motets,  Concertos,  Madrigals 
and  Arias,  1st  Series;  Motets,  Con- 
certos, Madrigals  and  Arias,  2d  Series; 
Motets,  Concertos,  Madrigals  and 
Arias,  3d  Series;  Motets,  Concertos, 
Madrigals  and  Arias,  4th  Series; 
Compositions  for  the  Psalms  of  David 
ofter  Cornelius  Becker's  Poems. 

Schwach.     Ger.     "Soft,"    PIANO. 

Schwarbrook  (Thomas)  built  or- 
gans in  England,  including  St.  Mi- 
chael's, Coventry,  1733,  which  cost 
$7000. 

Schwarmer.  Oer.  Obsolete  name 
applied  to  four  or  more  notes  repeated 
rapidly  on  the  same  degrees  of  the 
scale. 

Schweigezeichen.     Ger.    REST. 

Schweinskopf.  Ger.  "Pig's Head," 
grand  pianos  so  called  from  side 
view. 

Schweizerfamilie.  Joseph  Weigl's 
three-act  opera,  to  book  by  Castelli, 
was  first  performed  Mar.  14,  1809, 
Vienna. 

Schweizerpfeife,  Schweizerflote, 
Feldpfeif.  Ger.  German  or  traverse 
FLUTE. 

Schwemmer  (Heinrich)  played 
organ  at  Nuremberg  Frauenkirche, 
where  he  was  director  from  1656; 
taught  Pachelbel,  Schmidt  and  others; 
composed  hymns  and  organ  pieces; 
pupil  of  J.  E.  Kindermann.  B. 
Gumbertshausen,  near  Hallburg,  Mar. 
28,  1621;  d.  May  26,  1696,  Nurem- 
berg. 

Schweller.      Ger.    Swell    ORGAN. 

Schwencke  or  Schwenke  (Johann 
Gottlieb)     played     bassoon;      court 


SCHWERMtJTHIG  611         SCOTCH   SYMPHONY 

musician.  B.  Aug.  11, 1744,  Breitenau,  operas  "Matelda,"  Teatro  del  Venne, 
baxony;  d.  Dec.  7,  1823,  Hamburg.  Milan,  1876;  "  II  Progettista,"  Rome, 
Cbristaan  Priedrlch  Gottlieb  com-  1882;  "  Sortilegio,"  Turin,  1882; 
posed  poems  of  his  friend  Klopstock,  "Gringoire,"  Milan,  1890;  "Corti- 
six  organ  fugues,  clavier  sonatas;  giana,"  Milan,  1896;  two  symphonies, 
played  organ;  became  cantor  in  three  string  quartets;  50  songs,  in- 
lieipsic  in  succession  to  E.  Baoh;  eluding  the  cycles  "La  Vie  Interieure," 
pupil  of  Bach.  B.  Aug.  30,  1767,  "  Intima  Vita,"  music  to  "Celeste" 
Wachenhausen;  son  of  JOHANN  and  "  Francesca  da  Rimini,"  a  "  Salve 
GOTTLOB;  d.  Oct.  28,  1822,  Ham-  Regina"  and  "O  Salutaris,"  etc.; 
burg.  Johann  Friedrich  played  played  doublebass,  touring  Italy  as 
organ  Hamburg  Nicolaikirche ;  com-  virtuoso ;  became  teacher  in  Milan,  of 
posed  cantatas,  orchestrated  Bee-  counterpoint  at  Palermo  from  1891, 
thoven's  "  Adelaide,"  etc.  B.  April  when  he  won  in  competition  a  similar 
30,  1792,  Hamburg,  son  of  C.  P.  G.  post  in  the  Reale  Instituto  of  Flor- 
Carl  composed  three  sonatas  for  two  ence;  pupil  of  the  Palermo  Conser- 
pianos;  played  piano.  B.  Mar.  7,  vatory.  B.  May  17,  1850,  Trapani, 
1797;  son  of  C.  F.  G.  Friedrich  Sicily;  add.  Florence. 
Gottlieb  composed  fantasias  for  Scordato.  It.  OS  the  tune, 
organ,  trumpet,  trombone  and  drums;  Scordatura.  Special  tunings  of 
edited  chorales  of  his  father,  JO-  violins  or  other  stringed  instruments 
HANN  FRIEDRICH;  played  organ  to  adapt  them  to  certain  keys,  for- 
Hamburg  Nicolaikirche.  B.  Dee.  15,  merly  much  in  vogue. 
1823,  Hamburg;  d.  June  11,  1896,  Score.  An  arrangement  in  NOTA- 
Hamburg.  TION  whereby  as  many  staves  as  may 

Schwermiithig.  Ger.  Sorrowful,  be  necessary  to  record  every  part  of 
pensive.  a  composition  are  united  on  a  single 

Schwindel  or  Scbwlndl  (Frie-  page,  bars  being'  "  scored "  through 
drich)  composed  mass  in  E  minor,  each;  Full  or  Orchestral,  are  scores 
four  voices  and  orchestra,  symphony,  with  separate  staves  for  each  part; 
chamber  music,  played  many  instru-  Piano  are  scores  where  all  the  in- 
ments;  became  concertmeister  at  strumental  parts  are  represented  on 
Carlsruhe.     D.  Aug.   10,  1786.  two  staves,  with  two  additional  staves 

Schwlngungen.  Ger.  VIBRA-  for  the  vocal  parts;  Short  Close,  or 
TIONS.  Compressed    are    scores    with    more 

Schytte   (Ludwig  Theodor)   com-    than  one  part  to  the  stave, 
posed     the     one-act     opera     "  Hero,"       Scorrendo.     It.    Plowing  from  one 
Copenhagen,      1898;       the      operetta    sound  to  another. 
"Der  Mameluk,"  Vienna,   1903;    the       Scorrevole.    It.    Gliding,  flowing, 
song    cycle    "Die    Verlasse,"    piano       Scotch    Scale.       PENTATONIC 
sonata   and   concerto,   etc.;    pupil   of    SCALE. 

Taubert  and  Liszt.  B.  April  28, 1850,  Scotch  Snap.  Some  Scotch  melo- 
Aarhus,  Denmark;    add.  Vienna.  dies  have  a  peculiar  rhythm,  as  the 

Scioltamente,  Scioltezza,  Con.  Strathspey  tunes,  in  which  a  short 
It.     With  ease,   freedom.  note  comes  before  a  long  one.    Reels 

Sciolto.  It.  Freely,  with  ease;  as  and  jigs  have  not  the  snap,  which  is, 
fuga,  a  free  FUGUE.  however,  equally  common  to  the  vulgar 

Scolia.  Short  Greek  songs  sung  "coon  songs,"  or  "ragtime"  of  the 
during    banquets,     formerly    by    the    United  States. 

whole  assemblage,  afterwards  by  each"  Scotch  Symphony.  Felix  Mendels- 
guest  alone,  holding  in  his  hand  a  sohn's  title  for  his  symphony  in  A 
myrtle  branch.  The  songs  were  some-  minor,  O^.  56,  which  was  intended  to 
times  accompanied  and  were  of  three  convey  his  impressions  of  Scotland, 
kinds:  moral,  mythological,  and  mis-  1829.  It  was  begun  July  30  of  that 
cellaneous  or  those  of  love  and  wine.      year,   completed   Jan.    20,    1842,   and 

Scontrino  (Antonio)  composed  the   first  performed  Mar.  3,  1842,  at  the 


SCOTT 


612   SECHSZEEITTHEILIOITOTE 


Gewandhaus,  and  dedicated  to  Queen 
Victoria. 

Scott  (Cyril  Kluir)  composed  "  La 
Belle  Dame  Sans  Merci,"  sop.  bar., 
and  orchestra,  songs,  chamber  music, 
overtures  to  "  Princesse  Maleine  "  and 
"  Pellfias  et  Mglisande " ;  pupil  of 
Frankfort  Hoch  Conservatory  and  fol- 
lower of  DEBUSSY.  B.  Sept.  27, 
1879,  Qxton,  Eng.;   add.  London. 

Scott  (Lady  John  Douglas)  com- 
posed "Annie  Laurie,"  other  Scotch 
songs,  and  possibly  "  The  Banks  of 
Loch  Lomond";  daughter  of  John 
Spottiswoode,  of  Spottiswoode ;  maiden 
name  Alicia  Ann.  B.  1810,  Spottis- 
woode; m.  Lord  John  Montague- 
Douglas-Scott,  Mar.  16,  1836;  d.  Mar. 
12,  1900,  Spottiswoode. 

Scotti  (Aatonio)  created  the  rSle 
of  "  Scarpia "  in  the  first  American 
performance  of  "La  TOSCA,"  1901, 
and  was  thereafter  a  favorite  bar.  at 
the  Metropolitan  Opera  House,  as  well 
as  at  Covent  Garden,  London;  pupil 
Milan  Conservatory.  B.  Italy;  add. 
New  York. 

Scottish  Orchestra  gave  concerts 
and  assisted  at  choral  performances  in 
Scotland,  having  headquarters  in 
Glasgow.  Founded  in  1891,  with  80 
musicians  under  the  direction  of 
GEORG  HENSCHEL,  who  served  until 
1895,  WILHELM  KES  and  Wllr- 
HELM  BEUCH  were  conductors  until 
1900,  when  Dr.  FREDERIC  COWEN 
assumed  that  responsibility.  Maurice 
Sons  and  Henri  Verbrugghen  were 
the  concertmeisters. 

Scozzese.  It.  "Scotch'';  Alia, 
in  the  Scotch  style. 

Scriabln  (Alexander  Kicholae- 
vich)  composed  choral  symphony  in 
E  major.  Op.  26;  symphony  in  C 
minor.  Op.  29 ;  piano  concerto,  P  sharp 
minor.  Op.  20,  three  sonatas  and  other 
piano  works;  prize  pupil  of  Moscow 
Conservatory,  1892,  under  SafanoS 
and  Tanejev;  toured  as  pianist; 
taught,  Moscow  Conservatory,  1898- 
1903,  thereafter  devoting  himself  to 
composition.  B.  Jan.  10,  1872,  Mos- 
cow;  add.  Moscow. 

Scribe  (Henri)  was  the  best  and 
most  prolific  of  recent  French  libret- 
tists;   wrote  the  books  of  "HUGUE- 


NOTS," "AFRICAINE,"  "FRA  DI- 
AVOLO,"  "ROBERT,"  "PROPHETE," 
"  DOMINO  NOIR,"  in  all  more  than 
250  opera  books,  comedies,  and  ballets; 
member  of  the  Academie  Frangais. 
B.  Dec.  25,  1791,  Paris;  d.  Feb.  21, 
1861,  Paris. 

Scriva.  /*.  "  Written'';  si  soriva, 
as  written. 

Scudo  (Pietro)  wrote  the  musical 
novel  "  Le  Chevalier  Sarti,"  and  many 
books  on  music,  criticisms  for  "  Revue 
des  Deux  Mondes  " ;  sang  and  taught 
vocal;  became  insane,  1863.  B.  Ven- 
ice, June  6,  1806;  d.  Oct.  14,  1864, 
Paris. 

Sdegnosamente,  Sdegnoso, 
Sdegno,  Con.  It.  Scornfully;  with 
scorn. 

Sdrucciolando.    It.    Sliding. 

Sdrucciolare.  It.  To  slide  by  de- 
pressing the  keys  of  the  piano  rapidly 
in  succession,  with  the  finger  nails  j 
the  scales  of  the  harpsichord  were 
often  so  played. 

Se.  /*.  "As,  if";  Bisogno,  if 
required. 

Seasons.  Joseph  Haydn's  oratorio 
known  in  German  as  "  Die  Jahres- 
zeiten,"  to  book  by  van  Sweiten,  based 
on  Thomson's  "  Seasons,"  was  first 
performed  April  24,  1801,  at  the 
Schwarzenberg  palace,  Vienna,  having 
been  begun  April,  1798.  It  was 
Haydn's  last  important  work. 

Sebastian!  (Johann)  composed  a 
Passion,  1672,  lately  republished;  sa- 
cred and  secular  songs,  was  cantor  of 
the  KSnigsberg  Domkirche  and  chapel- 
master  to  the  Electors  of  Branden- 
burg. B.  Sept.  30,  1622,  Weimar;  d. 
1683. 

Sec.     Pr.    Unornamented,  plain. 

Seccara.    It.    Neapolitan  dance. 

Secco.     /*.    Unornamented,  plain. 

Seohsachteltakt.  Ger.  Six-eight 
time. 

Sechssaitig.     Oer.     Six-stringed. 

Sechsteilig.    Oer.    In  six  parts. 

Sechsvierteltakt.  Oer.  Six-four 
time. 

Sechszehnfiissig.  Ger.  The  uni- 
son pitch  of  the  middle  organ;  "of 
sixteen  parts." 

Sechszehntheilignote.  Oer. 
SEMIQUAVER. 


SECHTEK 


613 


SESIBBICH 


Sechter  (Simon)  wrote  on  theory; 
taught  from  1850,  Vienna  Conserva- 
tory, such  pupils  as  Nottebohm,  Vieux- 
temps,  Pauer,  Pohl,  and  Thalberg; 
composed  12  masses,  songs,  and  works 
in  many  forms;  completed  Mozart's 
D  major  fugue  for  grand  orchestra. 
B.  Oct.  11,  1788,  Friedberg,  Bohemia; 
d.  Sept.  12,  1867. 

Second.  INTERVAL,  as  c  to  d; 
CHORD  6-4-2  in  figured  bass. 

Seeling  (Hans)  composed  "Lorelei," 
"  Barcarolle,"  and  other  piano  pieces ; 
played  piano.     B.   1828,  Prague;    d. 
May  26,  1862,  Prague. 
Seg.    SEGUE  or  SEGNO. 
Seger    (Joseph    Ferdinand   Nor- 
bert)  composed  "Eight  Toccatas  and 
Fugues  "  recently  published  by  Breit- 
kopf  &  Hartel  and  much  church  music 
which  has  been  lost ;   played  violin  for 
37    years    from    1745,    organ    at    the 
Prague  Kreuxherrenkirche;  name  also 
spelled  Seeger,  Seegr,  Sager,  Zeckert, 
Segert;    noted  as  a  teacher;    B.  Mar. 
21,    Melnik,    Bohemia;    d.    April    22, 
1782,  Prague. 
Segue.    It.    Succeeds,  follows  after. 
Seguendo,  Seguene.    It.    Succeed- 
ing, following. 
Seguenza.    It.    SEQUENCE. 
Seguldilla.     iSfp.     Vivacious  Span- 
ish dance  in  3-4  or  3-8  time. 

Seguin  (Edward  Arthur  Shel- 
don) sang  bass  in  English  opera,  and 
toured  America  at  head  of  "  Seguin 
Troupe,"  pupil  Royal  Academy  of  Mu- 
sic. B.  April  7,  1809,  London;  d.  Dec. 
9,  1852,  New  York.  Ann  Childe  sang 
"  Donna  Anna "  and  other  sop.  rSles 
in  opera;  taught  vocal  in  New  York; 
pupil  Royal  Academy  of  Music.  B. 
1814,  London;  m.  E.  A.  S.;  d.  1888, 
New  York.  William  Henry  sang 
bass;  pupil  Royal  Academy  of  Music; 
brother  of  E.  A.  S.  B.  1814,  London;  d. 
1850.  Elizabeth,  sister  of  E.  A.  S.,  was 
the  mother  of  Mme.  PAREPA-ROSA. 
Seguite.  It.  SEGUE. 
Segue.  It.  "Sign"  used  in  NO- 
TATION for  a  repeat. 

Sehnsucht.     &er.    Longing,  desire, 
ardour. 

Sehr.     Oer.     Extremely;    as  JjCD- 
haft,  extremely  slow. 
SeL    It.    Six. 


Seidl  (Anton)  became  one  of  the 
foremost  modern  conductors;  assisted 
Wagner  in  scoring  the  RING  DES 
NIBELUNG,  and  at  the  first  Bayreuth 
festival;  became  conductor  Leipsic 
Opera  House,  1879-82 ;  toured  Europe ; 
became  conductor  Bremen  Opera 
House,  1883,  then  at  Metropolitan 
Opera  House,  New  York,  1885-91, 
N.  Y.  Philharmonic  Society,  1895-7, 
then  at  Bayreuth  and  Covent  Garden ; 
pupil  Leipsic  Conservatory.  B.  Pest, 
May  7,  1850;  d.  New  York,  Mar.  28, 
1898.  Seidl's  fine  library,  including  a 
large  collection  of  full  scores,  was 
presented  to  COLUMBIA  University 
by  his  widow,  Mme.  Krauss-Seidl. 

Seiffert  (Haz)  edited  complete 
works  of  Sweelinck;  wrote  a  history 
of  clavier  music;  became  chief  editor 
"  Internationale  Musikgesellschaft " ; 
pupil  of  Spitta.  B.  Feb.  9,  1868,  Bee- 
skow;    add.  Leipsic. 

Seiss  (Isadore  Wilhelm)  composed 
and  edited  piano  music;  became  pro- 
fessor piano,  Cologne  Conservatory, 
1871;  pupil  of  Wieck  and  Otto.  B. 
Dec.  23,  1840,  Dresden;  add.  Cologne. 
Seitenbewegimg.  Qer.  Oblique 
MOTION. 

Seizieme  de  Soupir.  Pr.  Semi- 
quaver rest. 

Selby  (Bertram  Luard)  composed 
16  anthems,  10  services,  cantatas, 
songs,  and  "Idyll"  for  orchestra,  in- 
cidental music  to  "Helena  in  Troas," 
"  Weather  or  No";  two  quintets  for 
piano  and  strings,  suite  for  violin  and 
piano;  became  organist  Rochester 
Cathedral,  1900;  pupil  Leipsic  Con- 
servatory, and  organist  Salisbury  Ca- 
thedral, 1881.  B.  Feb.  12,  Ightham, 
Eng. ;    add.  Rochester. 

Seleneccer  or  Selneccer  (ITikolaus) 
composed  and  wrote  hymns;  organist 
at  Nuremberg,  later  court  preacher  at 
Dresden.  B.  Hersbruch,  near  Nurem- 
berg, Dec.  6,  1528;   d.  after  1587. 

Sembrich  ("  Marcella  "  Praxede 
IVEarcelline  Kochanska)  sang  sop.  in 
opera,  tanking  as  one  of  the  world's 
foremost  coloraturas,  debut  June  3, 
1877,  Athens,  as  "  Elvira  "  in  "  Puri- 
tani";  thereafter  acquiring  many 
reles,  including  "Amina,"  "Lucia," 
"Marguerite  de  Valois,"  "Dinorah," 


SSMEIA 


614 


SEIVEFHE 


"Constance,"  "  Astrifiammante," 
"  Fille  du  Regiment,"  "  Susanna,"  in 
all  of  which  she  was  admirable. 
Daughter  of  Kasimir  Kochanski,  and 
his  wife,  bom  Sembrich,  both  musi- 
cians, she  received  her  first  instruction 
at  home,  playing  violin  and  piano  in 
public  at  12;  then  studied  piano  with 
Wilhelm  Stengel,  Lemberg  Conserva- 
tory (whom  she  afterwards  married), 
and  Brustermann,  then  for  a  time  with 
Liszt  in  Vienna,  took  vocal  lessons 
from  Rikitansky,  and  later  with 
Richard  Lewy  and  the  two  Lampertis. 
In  1878  she  made  her  first  appearance 
in  Dresden,  and  was  soon  a  favorite  in 
all  the  music  centres  of  Europe  and 
America,  joining  the  Metropolitan 
Opera  House  Company,  1898.  Mme. 
Sembrich  made  a  notable  success 
in  recent  years  in  concert  tours.  B. 
Wiesniewczyk,  Galicia,  Feb.  15,  1858; 
add.  New  York. 

Semeia.     Or.    Characters  in  music. 

Semele.  George  Frederick  Handel's 
opera  or  oratorio,  for  it  has  been  per- 
formed as  both,  was  composed  to  book 
by  Congreve,  1743,  and  first  produced 
Feb.  10,  1744,  Covent  Garden,  London. 

Semet  (Theophile  Aime  ^mile) 
composed  "  La  petite  Fadette,"  Opgra 
Comique,  Sept.  11,  1869;  "Gil  Bias," 
Mar.  26,  1860,  and  many  other  drama- 
tic works,  songs,  cantatas;  played 
drum  Paris  Op6ra;  pupil  Lille  and 
Paris  Conservatoires.  B.  Sept.  6, 1824, 
Lille;  d.  April  15,  1888,  Corbeil,  near 
Paris. 

Semibreve.  Whole  note  in  modem 
NOTATION,  or  half  of  a  BREVE. 

Semicliorus.  Passage  so  marked  is 
to  be  sung  by  only  a  section  of  the 
chorus. 

Semicroma.  It.    Semiquaver. 

Semidemisemiquaver.    64th   note. 

Semi-diapason.  L.  Imperfect  oc- 
tave. 

Semi-diapente.  L.  Diminished  or 
imperfect  FIFTH. 

Semi-diatessaron.  L.  Diminished 
or  imperfect  FOURTH.  • 

Semi-ditonus.  L.  Minor  third; 
cum  diapente,  Minor  SEVENTH. 

Semifusa.    L.    SEMIQUAVER. 

Semlminima.    L.    CROCHET. 

Semiquaver.   Sixteenth  note. 


Semiquaver  Best.^  Stop  the  length 
of  a  semiquaver. 

Semiramide.  Gioachino  Antonio 
Rossini's  two-act  lyric  tragedy,  to 
book  by  Rossi,  based  on  Voltaire's 
Semiramis,  was  first  performed  Feb. 
3,  1823,  at  La  Fenice,  Venice.  The 
original  cast  was  Semiramide,  Mme. 
Rossini-Colbran,  sop.;  Arsaces,  Mme. 
Mariani,  con.;  Idreno,  Sinclair, 
ten.;  Assur,  Galli,  bar.;  Oroe, 
Mariani,  bass.  The  action  opens  in 
Babylon,  where  Ninus,  the  King, 
has  been  murdered  by  his  consort, 
Semiramide,  aided  by  Assur,  a  prince 
who  loves  her  and  aspires  to  the 
throne.  Arsaces,  who  is  really  Semi- 
ramide's  own  son,  although  she  does 
not  know  it,  returns  from  the  war 
and  is  loaded  with  honors  by  Semi- 
ramide, who  becomes  infatuated  with 
him.  Arsaces  meantime  is  devoted 
to  Azema,  a  royal  princess.  As  the 
court  is  gathered  in  the  temple  to 
swear  allegiance  to  Semiramide,  the 
ghost  of  Ninus  issues  from  the  tomb 
and  declares  Arsaces  shall  succeed  to 
the  throne.  Assur  at  once  plans  the 
destruction  of  Arsaces  and  when  they 
meet  with  Semiramide  by  the  tomb 
at  midnight  Assur  meaning  to  stab 
Arsaces  kills  Semiramide  instead,  and 
Arsaces  leads  his  beloved  Azema  to 
the  throne.  The  principal  musical 
numbers  are:  "O!  come  da  quel  di," 
Arsaces ;  "  Bella  imago  degli  dei," 
Arsaces  and  Assur;  "Bel  raggio," 
Semiramide;  "  Serbami  ognor  si  fido," 
duo;  "  Ergi  omai  la  f  route  altera?" 
chorus  and  march ;  "  Giuro  al  numi," 
quartette  and  chorus.  Act  II :  "  As- 
sur, I  cenni  miei,"  Assur  and  Semi- 
ramide; "Giorno  d'orrorre,"  Semi- 
ramide and  Arsaces;  "Al  mio  pre- 
gar,"  Semiramide. 

Semisuspirium.    L.    Quaver  rest. 

Semitone.     Half  tone. 

Semitonium.     L.    Semitone. 

Semituono.     /*.     Semitone. 

Semplice.  /*.  Unornamented, 
simple. 

SemplicQmente.  It.  Without  or- 
nament, simply. 

SemplicitS,,  con.  It.  With  sim- 
plicity. 

Sempre.    It.    Throughout,  oontinu- 


SENAILXiE 


615 


SEBENO 


ally;  as  forte,  loud  throughout,  piu 
forte,  continually  increasing  in  loud- 
ness. 

Senaille  (Jean  Baptiste)  composed 
15  books  of  violin  sonatas;  taught, 
played  violin  in  court  band  of  Louis 
XV  of  France;  pupil  of  Corelli  and 
Vitali.  B.  Nov.  23,  1687,  Paris;  d. 
after  1719. 

Senesino  (Francesco  Bernardi) 
sang  sopranist  rSles  in  London  opera, 
where  he  received  $7000  per  season, 
engaged  by  Handel  1720,  but  in  1733 
deserted  him  after  a  bitter  quarrel, 
and  sang  at  rival  house  opened  by 
Porpora  until  1735,  when  both  com- 
panies were  bankrupted.  Educated  in 
music  by  Bemaochi,  Bologna,  he  was 
engaged  at  the  Dresden  opera,  1719, 
and  was  there  engaged  by  Handel. 
Senesino  (named  for  his  birthplace, 
Siena)  had  a  voice  of  con.  or  mez.  sop. 
quality,  small  in  compass,  but  said  to 
have  been  otherwise  equal  to  Pari- 
nelli's.  B.  about  1680;  d.  Florence 
about  1750. 

Senf  el  or  Senfl  (Ludwig)  composed 
church  music;  edited  "Liber  Selec- 
tarum  Cantionem,"  one  of  the  first 
music  books  published  in  Grermany; 
was  chapelmaster  to  Emperor  Maxi- 
milian I;  pupil  of  Isaac.  B.  Zurich; 
d.   about   1555. 

SenfE  (Bertholf )  founded  the  "  Si- 
ganale  fur  die  Musikalische  Welt," 
and  the  Leipsic  publishing  house  which 
bore  his  name,  issuing  many  important 
works  of  modern  masters.  B.  Sept.  2, 
1815,  Coburg;  d.  June  25, 1900,  Baden- 
weiler. 

Sennet,  Synnet,  Sig^net,  Synet. 
Sounding  a  note  seven  times,  order 
found  in  the  stage  directions  of  old 
plays;  phrase  composed  of  the  open 
notes  of  a  trumpet  or  other  tube  in- 
strument. 

Sensibile.    It.    Expressive. 

Sensibilita.     /*.    Feeling. 

Sensible.  Fr.  Major  seventh  or 
leading  note  in  a  scale. 

Sentie.     Fr.    Marked  or  expressed. 

Sentimental.  Songs  burdened  with 
emotions  as  opposed  to  humorous, 
comic  or  Bacchanalian. 

Senza.  It.  "Without,"  as  bassi, 
without  the  basses. 


Separation.  Old  name  for  a  grace 
note. 

Se  Place.    /*.    "  At  pleasure." 

Septet,  Septetto.  /*.  Composition 
for  seven  voices  or  instruments  or 
divided  into  seven  parts. 

Septime.     Ger.     SEVENTH. 

Septieme.     Fr.     SEVENTH. 

Septimenakkord.  Qer.  Chord  of 
the  SEVENTH. 

Septimole.  Seven  notes  played  in 
the  time  of  four  or  six. 

Septuor.  Fr.  Composition  for  seven 
voices  or  instruments  or  divided  into 
seven  parts. 

Sequence.  PROS  A;  repetition  of  a 
figure  or  harmonic  progression  in  a 
different  key  or  at  a  different  pitch  in 
the  same  key;  tonal  or  diatonic, 
where  there  is  no  modulation;  real 
or  chromatic,  where  a  change  of  key 
results. 

Seraflno  or  Santo  Serafin  (Gior- 
gio) made  violins  in  Venice,  1710-40, 
sometimes  on  Stainer  and  sometimes 
on  Amati  models,  one  of  which  sold  in 
1894  for  $1400;  in  earlier  life  worked 
at  Udine,  where  his  labels  read  "  Sanc- 
tus  SerapMnus,  Nicolai  Amati  Cre- 
monensis  AUumnus  faciebat:  Udine 
A.  16."  B.  Udine.  Georgius  suc- 
ceeded to  the  instrument-making  busi- 
ness established  by  his  uncle  GIORGIO, 
and  made  violins  only  to  be  distin- 
guished from  those  of  his  uncle  by 
the  label  "  Georgius  Seraphin  Sancti 
nepos  fecit  Venetiis,"  followed  by  the 
date. 

Seraglio.  English  title  of  W.  A. 
Mozart's  "ENTFUHRUNGAUS  DEM 
SERAIL." 

Seraphine.  Instrument  the  sounds 
of  which  were  produced  by  free  reeds 
coarse  in  tone;  introduced  the  begin- 
ning of  this  century,  but  giving  way 
to  the  HARMONIUM. 

Serena.    It.    Evening  song. 

Serenade.  Work  of  large  propor- 
tions similar  in  construction  to  a 
symphony.  It  was  formerly  a  com- 
position for  voice  or  instrument  usu- 
ally to  be  used  in  the  open  air,  at 
night,  but  the  Italian  term  Serenata 
was  afterwards  applied  to  a  cantata 
with  pastoral  subject. 

Sereno.    It.    Tranquil,  serene. 


S£!xt(£jS 


616 


SETTISTA 


Seres  (Williaiii)  published  a  psal- 
ter and  other  music  works  with  John 
Day  and  others,  London,  16th  century. 

Seria.    /*.    Tragic,  serious. 

Serinette.    Fr.    Bird-organ. 

Serioso.  It.  In  a  grave,  thought- 
ful manner. 

Sermisy,  de  (Claude)  composed  a 
number  of  masses  published  in  Paris 
by  Attaignant  and  Du  Chemin,  1532- 
56,  motets,  more  than  200  chansons; 
became  canon  and  master  of  the  Sainte- 
Chapelle  under  Henri  II;  attended 
the  famous  conferences  of  Francois  I 
with  Pope  Leo  XX,  Bologna,  1515,  and 
with  Henry  VIII  of  England  at  the 
Field  of  the  Cloth  of  Gold;  pupil  of 
Josquin  and  chorister  in  boyhood  in 
the  Sainte-Chapelle.  B.  1490;  d.  1562, 
Paris. 

Serov  (Alexander  Nikolajevitcli) 
composed  the  operas  "  Judith,"  1863, 
St.  Petersburg;  "  Rogneda,"  1865,  St. 
Petersburg;  "  Wrazyasiela "  ("The 
Power  of  Evil"),  completed  by  his 
pupil  Soloviev,  incidental  music  to 
"  Nero,"  a  Stabat  Mater,  an  Ave 
Maria,  a  "Gopak"  and  a  "Dance  of 
the  Zaprogne  Cossacks  "  for  orchestra ; 
vacillated  at  first  between  the  influ- 
ences of  Wagner  and  Meyerbeer,  but 
in  his  last  works  was  distinctly  Rus- 
sian; wrote  music  criticism,  lectured; 
at  first  government  clerk,  then  'cellist 
and  pupil  of  Hiinke  in  theory.  B.  Jan. 
23,  1820;  d.  Feb.  I,  1871,  St.  Peters- 
burg. 

Serpent.  Obsolete  transposing  in- 
strument of  coarse  tone  and  compass 
of  two  octaves,  made  of  wood  in  curved 
form  and  covered  with  leather,  now 
replaced  by  the  ophicleide.  It  may 
have  been  invented  by  Guillaume, 
Canon  of  Auxerre,  about  1590,  and 
was  generally  set  in  B  flat.  A  contra 
serpent  or  Serpentcleide,  built  on  the 
ophicleide  pattern,  was  set  in  E  flat, 
but  was  too  unwieldy  to  be  carried  by 
the  player. 

Sferpentono.     /*.     SERPENT. 

Serpette  (Henri  Charles  Antoine 
Oaston)  composed  "  La  Branche  oas- 
8€e,"  Bouffes  Parisiennes,  1874,  and 
30  other  light  operas;  pupil  of  Am- 
broise  Thomas  at  the  Paris  Conserva- 
toire, where  he  won  the  prix  de  Rome, 


187 1,  with  his  cantata  "Jeanne  d'Aro." 
B.  Nov.  4,  1846,  Nantes;  d.  Nov.  3, 
1904,  Paris. 

Serrano  (Emilio)  composed  the 
operas  "  Irene  de  Otranto,"  1891,  and 
"  Gonzalo  de  Cordoba,"  1898,  both  pro- 
duced at  the  Madrid  Royal  Opera, 
of  which  he  was  director;  taught 
MADRID  Conservatory;  played  piano. 
B.  1850,  Vittoria,  Spain;  add.  Madrid. 

Serrata.    It.    A  final  performance. 

Serva  Fadrona.  G.  B.  Pergolesi's 
two-act  intermezzo,  to  book  by  Nelli, 
was  first  performed  Aug.  23,  1733, 
Naples,  and  later  with  great  success 
in  Paris  during  the  war  of  the  LuUists 
and  BouSonistes,  and  still  later  was 
presented  in  French  as  "La  servante 
maltresse."  Faisiello  composed  a  work 
of  the  same  title  for  St.  Petersburg. 
"  The  Maid  Turned  Mistress,"  to  give 
it  an  English  title,  introduces  but 
three  personages,  one  of  whom  is 
mute. 

Servais  (Adrien  Frangois)  com- 
posed three  concertos,  16  fantasies,  six 
etudes,  and  many  other  works  for 
'cello;  played  'cello,  touring  Europe 
with  success  as  virtuoso;  taught 
Brussels  Conservatory,  where  he  had 
been  a  pupil  under  Platel.  B.  June  6, 
1807,  Hal,  near  Brussels;  d.  Nov.  26, 
1866.  Joseph  played 'cello ;  succeeded 
his  father  ADRIEN  FRANCOIS  at 
the  Brussels  Conservatory,  where  he 
had  been  a  pupil.  B.  Nov.  28,  1850, 
Hal;  d.  Aug.  29,  1885,  Hal.  Frantz 
composed;  played  piano,  taught 
Brussels  Conservatory;  brother  of 
JOSEPH. 

Servi  or  Fueri  Symphoniaci. 
Musicians  employed  by  Romans  of 
rank. 

Service.  Portions  of  the  ofiSces  of 
the  church  sung  by  the  choir  as  the 
Canticles,  Sanctus;  marriage  and 
burial,  or  Morning  and  Evening  Ser- 
vice. 

Sesquialtera.  Organ  stop  com- 
posed of  ranks  of  pipes  giving  high 
harmonics  to  strengthen  the  funda- 
mental tone;  numbers  in  the  propor- 
tion 3:2. 

Sesta,  Sesto.    It.    SIXTH. 

Sestet,  Sestetto.    It.    SEXTET. 

Settima,  Settimo.  It.   SEVENTH. 


SETZKTJNST 


617 


SHAKE 


Setzkunst.  Oer.  Art  of  musical 
composition. 

Sevcik  (Ottokar)  became  the  most 
noted  violin  teacher  of  recent  years, 
numbering  as  pupils  Kubelik,  Marie 
Hall,  and  Kocian;  wrote  a  Method 
in  four  books,  outlining  his  system; 
composed  "Bohemian  dances"  for 
violin.  Pupil  of  his  father,  a  violjjaiat, 
and  later  of  the  Prague  Conservatory, 
his  first  engagement  was  as  concert- 
meister  to  the  Salzburg  Mozarteum, 
1870;  then  he  gave  concerts  in  Prague, 
became  eoncertmeister  at  Vienna  Kom- 
ische  Oper,  and,  in  1892,  head  of  violin 
department  of  the  Prague  Conserva- 
tor.    B.  Horazdowitz,  Bohemia. 

Seventh.  The  INTERVAL  such  as 
c  to  b,  or  the  CHORD  having  its  high- 
est and  lowest  note  a  seventh  apart, 
which  may  be  Major,  Minor,  or  Dimin- 
ished. Thus  c,  e,  g,  b,  or  g,  b,  d,  f, 
constitute  the  primary  chords  of  the 
seventh.  The  secondary  chords  are 
those  having  the  second,  third,  fourth, 
sixth,  or  seventh  of  the  scale  for  their 


Severamente.  It.  Precisely, 
strictly. 

Severlta.    It.    Precision,  strictness. 

Severn  (Thomas  Henry)  composed 
an  opera,  songs,  the  cantata  "  Spirit 
of  the  Shell,"  church  music;  con- 
ducted; self-taught  in  music.  B. 
Nov.  5, 1801 ;  d.  April  15, 1881,  Wands- 
worth, Eng. 

Sexquialtera.    L.     SESQUIAL- 

Sext.  Oer.  SIXTH;  organ  stop 
of  two  ranks,  having  a  sixth  interval 
between  them,  or  twelfth  and  tierce. 

Sextette.     SEXTET. 

Sextolet,  Sextulet.  Six  notes 
played  in  the  time  of  four;  double 
triplet. 

Sextuor.    Fr.    SEXTET. 

Seyfrled,  von  (Ritter_  Ignaz 
Xaver)  composed  the  comic  opera 
"Der  Lowenbrunnen,"  1797,  to  book 
by  Schikaneder,  for  whom  he  was  con- 
ductor at  the  Theater  an  der  Wien, 
"Der  Wundermann  am  Rheinfall," 
1799;  "  Saul,"  "  Abraham,"  and  other 
biblical  plays,  a  "Libera"  for  Bee- 
thoven's funeral  and  other  once  popu- 
lar church  music;  taught  successfully; 


wrote  on  music;  pupil  of  Koseluch 
and  Haydn.  B.  Aug.  15,  1776,  Vienna; 
d.  Aug.  26,  1841,  Vienna. 

Sf.  or  Sfz.  Abbreviation  for 
SFORZANDO,  or  SFORZATO. 

Sforzando.    It.    SFORZATO. 

Sforzato.  It.  Phrases  so  marked 
are  to  be  played  with  more  emphasis 
than  the  rest. 

Sforzato  Piano.  Sudden  FORTE 
followed  by  DIMINUENDO. 

Sfuggito.  It.  Interrupted,  as 
Cadenza,  interrupted  CADENCE. 

Sfz.  P.  Abbreviation  for  SFOR- 
ZATO PIANO. 

Sgambati  (Giovanni)  founded, 
with  his  colleague  Penelli,  the  music 
school  attached  to  the  Accademia  di 
Sta.  Cecilia  at  ROME,  composed  a 
notable  Requiem  for  the  funeral  of 
Umberto  I,  an  "  Epitalamio  Sinfon- 
ico  "  for  the  marriage  of  the  Duke  of 
Aosta,  quartet  for  strings  in  D  flat, 
F  minor  piano  quintet,  symphony  in 
D,  songs,  much  piano  music;  gave 
orchestral  concerts  in  Rome,  introduc- 
ing the  works  of  Beethoven,  Brahms, 
etc.,  to  Roman  audiences;  was  the 
friend  of  Wagner  and  Liszt;  played 
piano  in  successful  concert  tours  of 
Europe;  founded  the  "  Nuova  Societa 
Musicale  Romana,"  1896,  and  was  in 
all  respects  one  of  the  most  valuable 
and  important  of  modem  Italian 
musicians;  member  of  the  French 
Institut,  and  commander  of  Sts. 
Maurice  and  Lazarus;  in  boyhood  he 
was  a  church  chorister  and  pupil  of 
Barber!  and  Natalucci,  inheriting  from 
the  one  the  traditions  of  Clementi  and 
from  the  other  those  of  Zingarelli. 
His  first  publications,  1876,  were  ac- 
cepted through  Wagner's  influence,  and 
the  total  had  reached  Op.  38  in  1908, 
although  a  second  symphony  and  much 
other  music  was  still  in  manuscript. 
B.  May  28,  1843,  Rome;  add.  Rome. 

Shading  of  Pipes.  Anything 
placed  at  the  top  of  an  organ  pipe 
affecting  the  vibration  of  air. 

Shake.  The  rapid  repetition  of 
two  notes  a  half  or  whole  tone 
apart,  signified  by  "  tr."  over  the  first 
note  to  be  played;  a  succession  of 
trills  or  shakes  is  called  a  chain;  a 
shake  followed  by  an   appoggiatura 


SEAKESFEABE 


618 


SHERWOOD 


usually  finishes  with  a  turn;  a  shake 
beginqing  with  a  turn  is  called  a 
prepared  shake. 

Shakespeare  (Williain)  composed 
symphony  in  C  minor,  chamber  music, 
songs;  taught  singing.  Royal  Academy 
of  Music,  1878,  and  conducted  concerts 
of  that  institution  up  to  1886;  sang 
in  concert  and  oratorio;  organist  at 
13,  and  later  pupil  of  Sir  W..  S.  Ben- 
nett, Royal  Academy  of  Music.  B. 
June  16,  1849,  Croydon;   add.  London. 

Shaliapin  or  Chaliapine  (Fedor 
Ivanovich)  sang  bass  in  opera,  debut 
at  Private  Opera,  Moscow,  where  his 
rOles  included  "  Ivan  the  Terrible," 
"  Melnik,"  and  was  especially  ad- 
mired as  "  Mefistofele "  in  Boito's 
opera,  which  he  sang  in  Milan,  1901 
and  1905,  repeating  his  great  success 
at  the  Manhattan  Opera  House,  New 
York,  1908;  pupil  of  Oussatov  in 
Tiflis,  then  singer  in  minor  St.  Peters- 
burg theatres.  B.  Kazan,  Feb.  11, 
1873;    add.  Moscow. 

Shamus  O'Brien.  Sir  C.  V.  Stan- 
ford's two-act  romantic  opera,  to  book 
by  G.  H.  Jessup,  was  first  performed 
Mar.  2,  1896,  at  the  London  Opera 
Comique   Theatre. 

Sharp.  Sign  in  NOTATION  which 
raises  a  note  a  semitone. 

Sharpe  (Ethel)  played  piano,  win- 
ning silver  medal  of  the  Musicians' 
Company,  London,  1891;  pupil  Royal 
Irish  College  of  Music.  B.  Nov.  28, 
1872,  Dublin;  m.  Alfred  Hobday,  1895; 
add.  London. 

Sharpe  (Herbert  Francis)  com- 
posed comic  opera,  overture,  "  Piano- 
forte School,"  Op.  60;  taught  Royal 
College  of  Music;  pupil  National 
Training  School.  B.  Mar.  1,  1861, 
Halifax;    add.  London. 

Shaw  (Mary  Postans)  sang  con. 
rSles  with  success  in  concert  and 
opera,  but  lost  her  voice  through 
shock  when  her  husband  became  in- 
sane; pupil  Royal  Academy  of  Music 
and  of  Sir  George  Smart.  B.  1814, 
London;  m.  Alfred  Shaw,  and  on  his 
death  J.  F.  Robinson;  d.  Sept.  9, 
1876,  Hadleigh  Hall,  Suffolk,  Eng. 

Shawm.     CHALUMEAU. 

She  Stoops  to  Conquer.  G.  A. 
Macfarren's  three-act  opera,  to  book 


abridged  from  Goldsmith's  comedy, 
was  first  performed  Feb.  11,  1864,  at 
Drury  Lane,  London. 

Shedlock  (John  South)  composed 
a  quartet  for  piano  and  strings,  etc.; 
wrote  criticism,  "  The  Academy  "  and 
"  The  Athenaeum  " ;  pupil  of  Liibeck 
and  Lalo.  B.  Sept.  29,  1843,  Reading, 
Eng.;    add.  London. 

Sheehan  (Joseph)  sang  ten.  in  Eng- 
lish opera,  possessing  a  lyric  voice  of 
good  range  and  fine  quality;  debut 
with  the  Bostonians,  singing  after- 
wards as  leading  ten.  of  the  Castle 
Square  and  Henry  W.  Savage  English 
opera  companies  such  rSles  as  "Man- 
rico,"  "  Othello,"  "  Tannhauser," 
"Lohengrin,"  "Faust";  gave  concerts 
after  the  disbanding  of  English  opera 
companies,  and  in  1908  stock  opera 
performances  in  Cincinnati. 

Shelley  (Harry  Bowe)  composed 
"  Leila "  and  an  opera  to  Japanese 
theme,  unperformed;  the  sacred  can- 
tata "The  Inheritance  Divine,"  two 
symphonies ;  the  suite  "  Baden-Baden," 
for  orchestra,  songs,  church  music,  the 
cantata  "Vexilla  Regis,"  N.  Y.,  1894; 
taught  Metropolitan"  College  of  Music, 
New  York;  played  organ  in  inany 
New  York  churches;  pupil  of 
Stoeckel  at  Yale  and  of  Dudley  Buck, 
Vogrich^  and  Dvorak,  New  York.  B. 
June  8,  1858,  New  Haven;  add.  New 
York. 

Shepherd  (John)  composed  church 
music;  played  organ  and  taught,  Mag- 
dalen College,  Oxford;  16th  century. 

Shepherd  (William)  composed, 
played  violin,  and  published  music  in 
Edinburgh.     D.  Jan.   19,  1812. 

Sheremetiev  (Count  Alexander 
Dim.itrievich)  became  intendant  of  the 
imperial  court  chapels,  St.  Petersburg, 
1902;  founded  a  private  symphony 
orchestra  which  gave  popular-priced 
concerts  in  the  Russian  capital.  B. 
1859;    add.  St.  Petersburg. 

Sherwood  (Edgar  Harmon) 
played  piano;  taught  and  composed. 
B.  Jan.  29,  1845,  Lyons,  N.  Y.;  add. 
Rochester,  N.  Y.  William  Hall 
founded  the  Sherwood  Piano  School, 
Chicago;  composed  for  piano;  played 
in  concert  tours  with  success.  Pupil 
of  his  father.  Rev.  L.  H.  Sherwood, 


SHEBWOOD 


619 


who  founded  a  musical  academy  in 
Lyons,  N.  Y.,  he  studied  later  with 
Heimberger,  William  Mason,  and  in 
Berlin,  Leipsic,  and  Stuttgart,  and 
finally  with  Liszt  at  Weimar;  then 
returned  to  the  United  States  and 
taught  at  the  New  England  Conser- 
vatory, then  in  New  York,  and  from 
1889  as  head  of  piano  department, 
Chicago  Conservatory,  until  1897.  B. 
Jan.  31,  1854,  Lyons,  N.  Y.;  brother 
of  EDGAR  HARMON;    add.  Chicago. 

Sherwood  (Percy)  composed  a 
symphony,  overture,  piano  concerto, 
sonata  for  "two  pianos,  quintet  for 
piano  and  strings;  played  piano; 
taught  Dresden  Conservatory;  pupil 
of  Draeseke,  Roth.  B.  May  23,  1866, 
Dresden. 

Shield  CWilliam)  composed  songs, 
many  of  which  were  popularized  by 
Mrs.  Billington,  more  than  a  score 
of  farces  and  pantomimes;  became 
Master  of  the  King's  Music,  1817; 
played  viola.  B.  Wickham,  Dur- 
ham, Eng.,  Mar.  5,  1748;  d.  Jan.  25, 
1829. 

Shift.  Changing  the  position  of 
the  hands  when  playing  on  string  in- 
struments. 

Shinner  (Emily)  organized  an  ex- 
cellent string  quartet  of  women; 
played  violin;  pupil  of  Joachim.  B. 
Cheltenham,  July  7,  1862;  m.  Capt. 
Liddell,  1901;   d.  July  17,  1901. 

ShirreflE  (Jane)  sang  sop.  in  opera, 
debut  1831  as  "Mandane"  in  Arne's 
"  Artaxerxes,"  toured  America  with 
Seguins.  B.  1811;  d.  Dec.  23,  1883, 
London. 

Shirreffs  (Andrew)  wrote  and 
composed  "  Jamie  and  Bess,  or  the 
Laird  in  Disguise,"  a  popular  pastoral 
operetta.  B.  1762,  Aberdeenshire;  d. 
1807,  London. 

Shofar.     Heh.    SCHOFAR. 

Short  Octave.  To  economize  in 
large  pipes,  old  organ  builders  fre- 
quently omitted  several  tones  from  the 
lowest  octave,  which  was  thus  short 
of   the    full    number    required   for    a 

Short  (Peter)  published  music  in 
London,  including  Morley's  "Plaine 
and  Easie  Introduction  to  Practical 
Musick,"  1584  to  1589.    The  business 


SIBERIA 


was  continued  until  1608  by  Humphrey 
Lowndes. 

Shudl  or  Tschudi  (Burkhardt) 
founded  the  harpsichord  factory  from 
which  developed  the  house  of  BROAD- 
WOOD;  learned  the  business  with 
Kirkman  while  in  the  service  of  Tabel, 
a  well-known  instrument  maker.  B. 
Mar.  13,  1702,  Glarus,  Switzerland; 
settled  in  London,  1718. 

Shudi  (Joshua)  made  harpsichords 
in  London,  1767-75;  pupil  of  Burk- 
hardt Shudi.  The  business  was  con- 
tinued by  his  widow  until  1779. 

Shuttelworth  (Obadiah)  composed 
12  concertos  and  sonatas  for  violin; 
played  violin  and  organ,  the  Temple, 
London.     D.  about  1735. 

Si.  Fr.  and  It.  The  note  or  key  of 
B;    Bemol,  B  flat. 

Sibelius  (Jean)  composed  the  first 
Finnish  opera,  "  Tornissa  Olija  Impi," 
Helsingfors,  1896,  a  violin  concerto, 
symphonies  in  E  and  D,  and  several 
works  for  orchestra  including  "  Tuon- 
ela  "( Hades )  and  "  Kuolema  "  ( Death ) , 
symphonic  fantasias,  songs;  made  a 
special  study  of  Finish  folksong; 
principal  of  the  Helsingfors  Conserva- 
tory, where  he  had  been  a  pupil  under 
Wegelius,  later  studying  with  Becker 
in  Berlin,  and  Goldmark,  Vienna.  B. 
Tavastehus,  Finmark,  Dec.  8,  1865; 
add.  Helsingfors. 

Si  Bemol.    Fr.    B  flat. 

Siberia.  Umberto  Giordano's  three- 
act  opera,  to  book  by  Luigi  Illica,  Was 
flrst  performed,  1903,  Milan;  in  Genoa, 
and  other  Italian  cities  the  same  year, 
in  Paris,  1905,  and  in  New  York,  at 
the  Manhattan  Opera  House,  1907-8, 
when  "  Vassili "  was  sung  by  Amadeo 
Bassi,  who  had  already  sung  the  part 
in  Genoa  and  Paris.  The  first  act, 
entitled  "  The  Woman,"  opens  in  St. 
Petersburg.  Stephana,  a  "beautiful 
oriental,"  has  been  passed  on  by  the 
villainous  Gleby  to  Prince  Alexis,  who 
has  installed  her  in  a  luxurious  palace. 
Nikona,  Stephana's  confidential  ser- 
vant, has  a  godson.  Lieutenant  Vassili, 
with  whom  Stephana  falls  in  love,  and 
often  meets,  but  in  such  disguise  that 
he  believes  her  to  be  a  simple  working 
girl.  On  the  eve  of  departmg  for  war, 
the  young  lieutenant  calls  to  bid  hia 


SIBEBIA 


630 


SIGITA 


godmother  farewell,  learns  for  the 
first  time  who  Stephana  really  is,  but 
still  loves  her.  When  Prince  Alexis 
enters,  he  provokes  a  combat  and  runs 
the  Prince  through  the  body  with  his 
sword.  The  police  enter,  and  Vassili 
is  arrested.  The  second  act,  called 
"  The  Lover,"  transpires  on  the  Russo- 
Siberian  border,  where  a  convoy  of 
prisoners  bound  for  the  Siberian  mines 
soon  appears.  Vassili,  condemned  for 
his  crime  and  wearied  with  the  long 
march,  is  overcome  with  despair. 
Women  and  children  wail  their  fare- 
wells to  the  men  whom  they  will  see 
no  more,  but  as  the  convoy  prepares 
to  resume  the  road,  a  sleigh  races  into 
sight.  Stephana,  who  has  come  to  join 
her  lover  in  exile,  is  rapturously 
greeted,  declines  to  listen  to  his  plea 
that  she  will  leave  him  alone  in  his 
misery,  and  together  they  follow  the 
prisoners  into  exile.  The  third  act, 
called  "The  Heroine,"  takes  place  in 
the  convict  camp  at  the  Siberian  mines. 
It  is  Easter  Eve,  and  amid  the  festivi- 
ties which  are  permitted  even  in  prison 
on  that  day,  Stephana  and  Vassili  are 
plotting  their  escape.  Gleby,  who  has 
at  last  fallen  into  the  toils  of  justice, 
is  brought  among  the  convicts  of  whom 
he  is  to  be  one  thereafter.  Recognizing 
Stephana  he  insults  her,  and  Vassili 
is  only  prevented  from  chastising  him 
by  the  bystanders.  Then  the  church 
bell  peals  forth  the  call  to  prayer,  and 
the  prisoners  fall  to  their  knees. 
When  night  falls,  Stephana  and  Vas- 
sili escape,  but  Gleby,  who  has  heard 
of  their  plan,  betrays  them.  An  alarm 
is  sounded,  guards  start  in  pursuit  of 
the  prisoners,  shots  are  heard,  and  a 
moment  later  the  prison  officials  re- 
turn, dragging  Vassili,  and  carrying 
Stephana,  who  has  been  mortally 
wounded,  on  a  litter.  Stephana  utters 
a  farewell  and  dies,  leaving  Vassili 
alone  indeed.  Russian  colour  is  given 
the  work  by  the  introduction  of  the 
National  hymn,  the  folksong  "Ay 
Ouchnem,"  which  has  long  been  a 
favourite  with  the  Volga  rivermen,  and 
an  earlier  Russian  strain  which  also 
occurs  in  the  scherzo  of  the  second  of 
Beethoven's  string  quartets  dedicated 
to  Rasoumoffsky. 


Siboni  (Oiuseppe)  sang  ten.  in 
early  life,  appearing  in  the  first  per- 
formance of  several  Beethoven  works 
in  Vienna ;  became  director  of  the  royal 
opera  and  conservatory,  Copenhagen, 
1819.  B.  Jan;  27,  1780,  Porli;  d.  Mar. 
29,  1839,  Copenhagen.  Erik  Anton 
Waldemar  composed  "  Lorelei "  and 
other  unpublished  Danish  dramatic 
and  religious  works,  symphonies,  piano 
and  chamber  music,  was  music  teacher 
to  the  Danish  royal  family;  pupil  of 
his  father  GIUSEPPE  and  of  Hart- 
mann,  Moscheles,  and  Hauptmann.  B. 
Aug.  26,  1828;  d.  Feb.  22,  1892, 
Copenhagen. 

Siciliana,  Siciliano.  It.  Peasant 
dance  of  Sicily  in  6-8  or  12-8  time; 
compositions  of  a  simple  character  are 
also  so  named. 

Side-drum.  Small  military  DRUM 
ordinarily  suspended  from  the  side  of 
the  player  and  beaten  with  wooden 
sticks.  First  used  in  the  orchestra  by 
Weber  in  his  "Kampf  und  Sieg,"  1815; 
afterwards  used  by  Rossini. 

Siebenklang.  Ger.  Chord  of  the 
SEVENTH;   scale  of  seven  notes. 

Siebenpfeife  des  Fan.  PAN 
PIPES. 

Siege  de  Corinthe.  G.  A.  Rossini's 
three-act  lyric  tragedy  based  on  his 
early  "  Maometto  II,"  book  by  Soumet 
and  Balocchi,  was  first  performed  Oct. 
9,  1826,  at  the  Paris  Acadgmie. 

Siege  of  Bochelle.  Michael  William 
Balfe's  three-act  opera,  to  book  by 
Fitzball,  was  first  performed  Oct.  29, 
1835,  at  Drury  Lane,  London. 

Siegeslied.     Ger.    Triumphal  song. 

Siegfried.  Third  music  drama  in 
Wagner's  tetralogy  the  RING  DES 
NIBELUNG. 

Siegue.    /*.    SEGUE. 

Siface  (Giovanni  Francesco 
Grossi,  detto)  sang  soprano  rSles  in 
opera  at  Venice;  was  attached  to 
the  chapel  royal  of  James  II  of  Eng- 
land, 1687;  probably  pupil  of  Tom- 
maso  Redi.  B.  Pescia,  Tuscany; 
robbed  and  murdered  by  postilions  in 
Italy. 

Sifflote,  Sufflote.    Oer.    FLUTE. 

Sig^a.  Ancient  name  for  large 
church  bells;  musical  characters  and 
signs  used  in  mediaeval  NOTATION. 


Signalist. 
in  the  army. 

Signatur. 
NOTATION. 

Signature, 


SIGNALIST 
.     Oer. 


621 


SILAS 


Trumpet  player   the  priests  have  given  him,  and  then 

sees  three  Norns,  washing  a  shroud, 

SIGNATURE  in   which  they  tell  him  is  his.    Unmoved 

by    fear    or   the   voluptuous    tempta- 

bigna  employed  in  the    tions  by  which  he  is  next  surrounded. 


Qer. 


d  if  music  to  indicate  time    Sigurd,   seeing  Brunehild's  palace  in 


and  key. 
Signe.    Fr. 
Siguidilla. 


the  distance,  plunges  into  a  lake  of 
SEGNO.  fire  by  which  it  is  surrounded,  and 

8EGUIDILLA.  safely    reaches    the    sleeping    beauty. 


Sigurd.  Ernest  Reyer's  five-act  who  at  once  awakes  and  proffers  him 
opera,  to  book  by  Dulocle  and  Blau,  her  love.  Faithful  to  Gunther,  Sigurd 
was  first  performed  Jan.  7,  1884,  at  leads  her  away,  his  drawn  sword  be- 
Brussels,  although  composed  18  years  tween  them.  In  the  third  act,  Hilda 
before,  and  at  Covent  Garden,  London,  and  Uta,  in  Gunther's  garden,  hear 
July  15,  1884,  and  the  following  year  Sigurd  proclaim  his  victory.  Brune- 
at  the  Paris  Opfira.  The  story  is  taken  hild,  who  has  been  conveyed  to  the 
from  the  Eddas,  and  is  that  which  garden  while  sleeping,  is  awakened  by 
Wagner,  drawing  his  legend  from  a  Gunther,  and  mistaking  him  for 
similar  source,  but  modifying  it  to  suit  Sigurd,  accepts  his  protestations  of 
his  fancy,  developed  in  "  Siegfried "  love.  Hagen  announces  the  coming 
and  "  Gotterdammerung,"  the  latter  nuptials  to  the  people,  and  then  Sigurd 
music  dramas  in  the  RING  DES  NIB-  appears,  claiming  Hilda  as  his  reward. 
ELUNG.  The  action  opens  in  Gun-  Gunther  agrees,  and  bids  Brunehild 
ther's  palace,  where  Hilda,  Gunther's  join  their  hands,  but  as  she  touches 
sister,  relates  her  dream  to  Uta,  her  Sigurd,  both  feel  that  their  hands  are 
nurse,  and  a  group  of  women  who  are  burning.  Brunehild  in  the  next  act  is 
sewing  battle  standards.  Uta  inter-  represented  as  having  some  mysterious 
prets  this  dream  to  mean  that  Hilda's  malady  which  frightens  people  away 
future  husband  will  be  killed  by  a  from  her.  The  fact  is  she  is  desper- 
jealous  rival.  Hilda,  who  is  intended  ately  in  love  with  Sigurd,  and  prays 
by  her  brother  for  Attila,  King  of  the  that  Odin  will  release  her  from  this 
Huns,  is  thereupon  moved  to  confess  misery  by  death.  Hilda  comes  to  com- 
ber love  for  Sigurd,  and  the  nurse  fort  her,  wearing  a  girdle  which  Brune- 
promises  to  give  him  a  potion  which  hild  recognizes  as  having  been  taken 
will  cause  her  passion  to  be  returned,  from  her  by  Sigurd,  and  then  she  real- 
Gunther  welcomes  messengers  from  izea  that  she  has  been  tricked  into  a 
Attila,  who  describes  the  charms  of  marriage  with  the  wrong  man.  She 
Brunehild,  whom  they  report  to  be  dispels  the  effect  of  Uta's  love  potion, 
asleep  in  a  rocky  fastness  surrounded  and  instantly  Sigurd  loves  her.  Si- 
by  fire.  Gunther  determines  to  win  gurd  and  Gunther  go  hunting,  and  his 
Brunehild.  A  moment  later  he,  urging  death  is  agreed  upon,  but  Hilda,  who 
his  sister  to  marry  the  King  of  the  informs  Brunehild  of  the  plot,  offers 
Huns,  when  Sigurd  enters,  accepts  the  to  save  Sigurd  if  Brunehild  will  re- 
magic  potion  from  Hilda  which  Uta  nounce  him  forever.  While  Brunehild 
has  prepared,  and  falls  in  love  with  hesitates,  Sigurd  is  murdered.  The 
Hilda.  Gunther  agrees  to  give  him  Ijody  is  brought  in,  and  Brunehild 
Hilda  if  he  will  aid  in  winning  Brune-  mounts  the  funeral  pyre,  and  as  the 
hild.  Priests  are  leading  the  worship  flames  burst  out,  the  celestial  voices 
of  Odin  and  Freja  in  the  second  act,  are  heard  chanting  The  heavens  are 
when    Gunther,    Hagen,    and    Sigurd  opening  for  them 


enter,   bent   on   capturing   Brunehild 
This  deed  can  only  be  accomplished. 


Silas    (Edouard)    composed    Mass 
which  won  the  gold  medal  and  1000 


sav  the  priests,  by  one  who  had  never    francs  prize  of  the  "  Assemblge  g6n- 

.     ■'  4  i      ctz J       il t fir-Clio     Aoa      nnt.linliniies     fill      T!^liorinii<»  " 


known    love,    and    Sigurd,    therefore, 
alone  is  qualified.    After  an  invocation 


§rale   des    Catholiques    en   B61gique," 
1866;    the  oratorio  "  Joash,"  Norwich 


to  Hilda,  Sigurd  blows  a  horn  which    Festival,  1863,  Kyrie  Eleison  with  or- 


SILBEHIiCAITIT 


633      SIMONE   BOCCANEGRA 


chestra,  three  symphonies,  three  over- 
tures, an  unpublished  English  opera 
"Nitooris,"  gavotte  in  E  minor,  and 
other  piano  works;  wrote  on  theory; 
taught  harmony,  Guildhall  School  of 
Music  and  Royal  Academy  of  Music; 
pupil  of  Kalkbrenner,  and  later  of 
Paris  Conservatoire,  under  Benoist 
and  Halfivy;  settled  in  England  as 
organist,  1850.  B.  Aug.  22,  1827,  Am- 
sterdam;  add.  London. 

Silbermann  (Andreas)  built  the 
Cathedral  organ,  Strassburg.  B.  May 
16,  1678,  Prauenstein,  Saxony;  a. 
Mar.  16, 1734.  Johann  Andreas  built 
54  organs,  including  that  of  the  Abbey 
of  St.  Blaise;  wrote  a  history  of 
Strassburg,  son  and  pupil  of  AN- 
DREAS. B.  June  26,  1712;  d.  Feb.  11, 
1783.  Johann  Josias  made  musical 
instruments  in  succession  to  his  father 
JOHANN  ANDREAS.  D.  June  3, 
1786.  Johann  Daniel  built  organs 
under  the  direction  of  his  uncle  GOTT- 
FRIED, completing  the  organ  in  the 
Dresden  Hofkirche;  then  settled  in 
Dresden  and  made  keyed  instruments 
and  barrel  organs.  B.  Mar.  31,  1717; 
son  of  ANDREAS;  d.  May  6,  1766,' 
Leipsic.  Johann  Heinrich.  composed, 
built  harpsichords  and  organs  and 
pianos.  B.  Sept.  24,  1727;  son  of  AN- 
DREAS; d.  Jan.  15,  1799,  Strassburg. 
Gottfried  was  the  first  German  to 
build  a  piano.  Three  of  his  instru- 
ments made  for  Frederick  the  Great, 
still  in  existence,  show  the  influence  of 
CRISTOFORI,  with  whose  work  he 
was  doubtless  familiar.  At  first  an 
organ  builder  he  erected  47  organs  in 
Saxony,  including  that  of  the  Frei- 
berg Cathedral,  1714,  and  then  devoted 
himself  to  clavichords,  settling  in 
Dresden,  and  producing  instruments  of 
the  best  grade.  B.  Jan.  14,  1683,  near 
Frauenstein;  d.  Aug.  4,  1753,  Dresden. 

Silcher  (Friedrich)  composed  pop- 
ular songs  and  hymns,  a  cantata;  be- 
came conductor  Tiibingen  University, 
1817;  edited  method  for  harmony  and 
composition,  1851;  pupil  of  his  father 
and  of  Auberlen.  B.  Schnaith,  Wtir- 
temberg,  June  27,  1789;  d.  Aug.  26, 
1860,  Tfibingen. 

Silence.    Fr.    Rest. 

Silenzio.    It.    Rest. 


Si  leva  11  sordino.    It.    Direction 

to  remove  the  mute. 

Siloti  (Alexander)  composed  for 
and  played  piano  with  distinction; 
taught  Moscow  Conservatory,  1880-90, 
then  toured  for  several  years;  con- 
ducted the  Moscow  Philharmonic  con- 
certs, 1901-2,  and  the  following  year 
conducted  in  St.  Petersburg;  pupil  of 
the  Moscow  Conservatory  under 
Swerew,  N.  Rubinstein,  and  Hubert, 
and  of  Liszt,  1883-86.  B.  Charkow, 
Russia,  Oct.  10,  1863;  add.  St. 
Petersburg. 

Silva.,  de  (Andreas)  composed  two 
masses  and  seven  motets  still  pre- 
served in  the  SISTINE  CHAPEL, 
where  he  sang,  1519,  and  was  first 
musician  to  be  entitled  "  Papal 
composer." 

Silver  (Charles)  composed  the  op- 
eretta "  La  Belle  au  Bois  Dormant," 
Paris,  1895,  the  oratorio  "  Tobie,"  the 
elegiac  poem  "  Rais " ;  pupil  of  the 
Paris  Conservatoire,  where  he  won  the 
prix  de  Rome,  with  his  cantata  "  L'ln- 
terdit."  B.April  16, 1868,  Paris;  add. 
Paris. 

Silver  Strings.  Covered  strings  on 
violins,  etc. 

Sim.     Abbreviation  for  SIMILE. 
Simao  (M.  A.)  was  better  known  as 
PORTOGALO  or  Portugal. 

Simicion,  Simekion.  &k.  Thirty- 
five  stringed  harp  sometimes  used  by 
the  Greeks. 

Simile.  It.  Same;  directing  that 
the  same  method  be  carried  out  in  all 
similar  passages. 

Simon  (Anton  Tulievicb)  com- 
posed "  Rolla,"  "  The  Fishers,"  "  The 
Stars,"  and  other  operatic  works, 
piano  music,  overtures,  etc.;  taught 
harmony  in  the  school  of  the  Moscow 
Philharmonic  Society,  and  became  sur- 
intendant  of  music  in  the  imperial 
theatres  of  Moscow  and  director  Alex- 
drovsky  Institute;  pupil  Paris  Con- 
servatoire. B.  1851,  France;  add. 
Moscow. 

Simone  Boccanegra.  Giuseppe 
Verdi's  three^act  opera,  to  book  by 
Piave,  was  first  performed  Mar.  12, 
1857,  at  La  Feniee,  Venice,  and  after- 
wards at  La  Scala,  Milan,  with  new 
libretto  by  Boito. 


SIMONETTI 


623 


SINGING 


Simonetti  (Achille)  composed  for 
and  played  violin;  founded  the  Lon- 
don Trio  with  Amina  Goodman  and 
W.  E.  Whitehouae;  pupil  of  Gamba 
and  Pedrotti,  and  later  of  Dancla  and 
Massenet,  Paris  Conservatoire.  B. 
June  12,  1859,  Turin;  add.  London. 

Siznoutre  (Nicliolas  Eugene)  in- 
vented a  "Support  Harmonique "which 
is  supposed  to  render  uniform  the  vi- 
brations of  the  violin's  belly  and  thus 
improve  its  tone;  made  instruments 
at  first  in  Mirecourt,  then  in  Strass- 
burg;  settled  in  Paris,  1890;  wrote 
several  pamphlets  in  support  of  his 
theories.  B.  April  19, 1839,  Mirecourt; 
add.  Paris. 

Simpla.     Low  L.    CROCHET. 

Simple.  Plain,  easy;  opposed  to 
compound  as  regards  time;  to  florid, 
as  regards  counterpoint;  applied  to 
intervals  not  exceeding  an  octave,  to 
tones  which  are  not  compounded,  and 
to  tubes  without  valves  or  pistons. 

Simpson  (Christopher)  wrote  "The 
Division  Viol,"  London,  1659,  said  to 
be  the  best  work  on  the  viol  da  gamba, 
on  which  he  was  a  virtuoso;  "The 
Principles  of  Practicle  Musick,"  Lon- 
don, 1665,  which  passed  through  nine 
editions;  composed  suites  and  other 
pieces  for  strings.    D.  about  1677. 

Simpson  (John)  published  music 
in  London,  including  "  Thesaurus  Mu- 
sicus,"  which  contains  "GOD  SAVE 
THE  KING."    D.  about  1747. 

Sim.pson  (Thomas)  composed  and 
wrote  on  music ;  played  viola  in  royal 
bands  of  Germany  and  Denmark  from 
1610.    B.  England. 

Simrock  (Nikolaus)  founded  the 
music  publishing  house  in  Bonn  which 
brought  out  the  first  edition  of  Bee- 
thoven's "  Kreutzer  sonata,"  and  other 
works  of  that  master,  with  whom  he 
had  played  in  the  Electoral  band.  B. 
1752;  d.  1834.  Peter  Joseph  contin- 
ued the  business  of  his  father  NIKO- 
LAUS.  D.  1868.  Friedrich  founded 
the  Berlin  branch  of  the  house,  and 
published  Brahms's  principal  works. 
B.  1841;  son  of  PETER  JOSEPH;  d. 
1901,  Lausanne. 

Sin'  al  flne.    /*.    "  To  the  end." 

Sinclair  (Dr.  George  Bobertson) 
played  organ  at  17,  Truro  Cathedral, 


from  1889,  Hereford  Cathedral;  past 
grand  organist  of  English  Masons; 
conductor  Three  Choirs  Festivals, 
1891-1906,  and  of  many  choral  and 
orchestral  organizations,  including 
Birmingham  Festival  Choral  Society; 
pupil  Royal  Irish  Academy  of  Music. 
B.  Oct.  28,  1863,  Croydon;  add.  Here- 
ford, Eng. 

Sinclair  (John)  sang  ten.  in  Lon- 
don English  operas  from  1810,  and 
from  1821  in  Italy,  where  he  studied 
for  a  time  with  Rossini;  in  early  life 
played  clarinet  in  military  band.  B. 
Deo.  9,  1791,  Edinburgh;  d.  Sept.  23, 
1857,  Margate. 

Sinding  (Christian)  composed 
Rondo  infinito  for  orchestra,  Op.  42, 
violin  concerto  in  A,  Op.  45;  suite  for 
violin  and  piano.  Op.  14,  in  all  more 
than  SO  published  works ;  played  organ 
and  taught,  Christiania;  pupil  of 
Reinecke,  Leipsic;  won  royal  scholar- 
ship, later  at  Dresden  and  Berlin.  B. 
KSnigsberg,  Norway;  add.  Christi- 
ania, Norway. 

Sinfonia.    It.    SYMPHONY. 
Singakademie.      Notable    musical 
institution  in  BERLIN. 

Singakademie.    Ger.    Academy  or 
school  for  singing. 
Singend.    Qer.    CANTABILE. 
Singetanze.    Ger.   Ballads  or  song- 
dances. 

Singhiozzaiido.  It,  In  sobbing 
style. 

Singing  is  the  act  of  producing 
musical  tone  by  means  of  the  voice. 
No  instrument  invented  by  man  pos- 
sesses at  once  the  power  of  producing 
a  complete  scale  ranging  from'  the 
highest  to  the  lowest  musical  sounds 
the  average  human  ear  is  capable  of 
distinguishing,  with  all  intermediate 
tones,  every  shade  and  inflection  of 
expression  together  with  articulate 
speech;  but  since  the  voice  does  all 
these  things,  such  instruments  as  those 
of  the  violin  family  which  approxi- 
mate the  perfection  of  the  voice  in  all 
matters  save  articulation,  are  some- 
times said  to  sing.  Considered  as  an 
instrument,  the  voice  ia  as  much  su- 
perior to  any  other  apparatus  for  the 
production  of  musical  tone  as  the 
natural    beauty   of   the    diamond    is 


SiNGiKra 


624 


SlITIGAGIilA. 


superior  to  that  of  any  artificial  imi- 
tation; but  as  an  instruqient,  the 
organs  of  the  voice  are  wonderful  in 
their  complexity.  The  entire  respira- 
tory system  is  involved  in  the  act  of 
singing,  and  the  tone  is  produced  pre- 
cisely on  the  principle  of  the  reed 
organ  pipe.  Naturally  the  first  thing 
in  importance  is  the  wind  supply.  The 
lungs  may  be  compared  to  an  organ 
bellows.  The  muscular  control  of  the 
diaphragm  and  of  the  ribs,  whereby 
the  lungs  are  inflated  and  the  air  ex- 
pired is  of  primary  importance  since, 
as  in  the  case  of  the  organ  pipe,  the 
quality  of  the  tone  is  dependent  on 
the  steady  and  uniform  control  of  the 
wind  supply.  From  the  lungs  the  air 
is  forced  through  the  trachea  or  wind 
pipe  past  the  vocal  mechanism  of  the 
larynx.  According  to  the  theories 
generally  accepted,  vibration  is  set 
up  by  the  action  of  the  air  on  the 
vocal  chords,  which  are  small  ridges 
of  cartilage  set  in  muscular  tissue, 
covered  with  a  delicate  mucous  mem- 
brane, and  capable  of  altering  the  size 
and  shape  of  the  aperture  through 
which  the  air  must  pass,  or  of  closing 
it  altogether.  The  form  of  the  vocal 
chords  varies  with  age  and  with  sex, 
but  in  all  cases  they  determine  the 
number  of  vibrations  of  the  air  col- 
umn, and  consequently  its  pitch. 
From  the  larynx  upward  the  air 
passage  resembles  the  "  speaking 
part "  of  the  organ  pipe.  The  tone 
is  again  modified  in  quality  and  in 
pitch  by  the  shape  of  the  mouth  and 
by  the  nasal  passages,  which  act  to- 
gether as  resonators  and  finally  by 
the  position  of  the  tongue  and  of  the 
lips  in  articulation.  Under  the  title 
VOICE  will  be  found  the  classification 
of  the  distinctive  varieties  of  male 
and  female  singing  voices  according 
to  compass,  and  the  pitch  and  special 
qualities  of  each  of  these  subdivisions 
is  described  under  its  proper  head. 
The  instinct  to  sing  is  quite  as  nat- 
ural and .  hardly  less  common  than 
the  instinct  to  speak.  The  ancients 
limited  the  oratorical  voice,  however, 
to  five  whole  tones,  while  the  singing 
voice  has  a  range  of  from  ten  tones  to 
two  or  even  three  octaves.    Doubtless 


the  art  of  singing,  fostered  by  the 
church,  reached  its  highest  perfection 
in  the  golden  age  of  polyphony  which 
culminated  in  Palestrina,  and  was 
thence  passed  on  to  the  great  opera 
singers  of  the  17th  and  18th  centuries, 
whose  skill  has  not  been  improved  on 
by  modern  methods.  Singing  had 
therefore  reached  perfection  as  an  art 
before  Garftia's  invention  of  the  laryn- 
goscope made  possible  its  comprehen- 
sion as  a  science.  Many  things  con- 
tributed to  aid  Italian  singers  in 
maintaining  their  primacy  in  the  vocal 
art.  The  climate  is  such  that  the 
delicate  mechanism  of  the  voice  is 
easily  kept  in  order,  and  more  im- 
portant still,  the  language,  by  reason 
of  the  preponderance  of  vowel  sounds, 
is  more  singable  than  the  tongues  of 
Northern  Europe.  But  while  the  in- 
stinct to  sing  is  common,  and  the 
possession  of  sound  vocal  organs 
equally  so,  no  one  can  sing  well  who 
does  not  possess  an  accurate  sense  of 
pitch,  and  this  is  by  no  means  com- 
mon. In  addition  the  great  artist 
must  also  possess  a  highly  emotional 
temperament,  or  the  effort  to  awaken 
emotion  in  others  must  fail.  Singing 
therefore  makes  such  unusual  demands 
on  the  individual  that,  while  every 
man  and  woman  is  bom  into  the  world 
with  the  greatest  of  all  instruments 
at  command,  the  great  singer  will 
always  be  even  more  rare  than  the 
great  instrumentalist. 

Single  Action.  Term  applied  to 
the  type  of  HARP  superseded  by 
Erard's  improvements,  which  had 
seven  pedals  and  a  single  set  of 
strings. 

Single  Chant.     CHANT. 

Single  Fugue.  FUGUE  where 
only  one  theme  is  used. 

Single  Kelish.  Old  ornament  used 
in  harpsichord  score,  sometimes  in 
violin  playing  and  in  singing. 

Singschule.     Ger.    Song-school. 

Singspiel.  Oer.  Comic  opera  with 
spoken  dialogue. 

Singstimme.     Qer.    Voice  part. 

Sinigaglia  (lieone)  composed  string 
quartet  in  D,  Op.  27,  a  concert  etude 
for  string  quartet.  Op.  5,  "  Danse  pied- 
montese  "  for  orchestra.  Op.  31,  songs 


SINISTRA 


635 


SISTISTE   CHOIR 


and  chamber  music,  female  choruses; 
pupil  of  Turin  Conservatory.  B.  Aug. 
14,  1868,  Turin;   add.  Turin. 

Sinistra.     It.    "  Left." 

Sinkapace.  Dance  resembling  the 
minuet,  called  by  old  English  writers 
passa-measure,  passing-measure,  or 
measure.  It  was  much  danced  in 
Queen  Elizabeth's  time,  and  examples 
of  it  were  composed  by  Croft  and 
Purcell. 

Si  Piace.    It.    At  pleasure. 

Si  Replica.    It.    To  be  repeated. 

Si  Scriva.    /*.    "  As  written." 

Si  Segue.    /*.    "  As  follows." 

Sister.  Ger.  An  old  German  guitar 
tuned  to  G,  c,  f ,  g,  e',  e',  g',  thus  having 
seven  strings,  the  three  lowest  covered. 

Sistine  Choir  is  the  popular  Eng- 
lish name  of  II  CoUegio  dei  Cappellani 
Cantori  della  Cappella  Pontifica  at 
Rome,  the  oldest  and  best  of  the 
world's  church  choirs,  which  consisted 
in  1908  of  32  choral  chaplains,  whose 
duty  it  was  to  assist  the  Supreme  Pon- 
tiff wherever  he  might  officiate  in  per- 
son. St.  Sylvester,  314-35,  established 
the  first  school  in  Rome  for  the  train- 
ing of  choristers,  and  St.  Hilarius, 
461-68  a  second.  The  Order  of  St. 
Benedict,  which  had  founded  a  semi- 
nary in  Rome,  was  intrusted  with  the 
training  of  choristers  by  St.  GREG- 
ORY THE  GREAT,  590-604,  from 
which  time  the  history  of  the  pontif- 
ical choir  has  been  continuous.  Dur- 
ing that  period  when  the  See  of  Peter 
was  removed  to  Avignon,  the  local 
papal  choir  numbered  12  singers,  1305- 
77,  but  the  Roman  organization  re- 
mained intact  and  at  home,  governed 
by  a  primacerius,  who  was  always  a 
churchman  of  high  rank,  aided  by  a 
secundicerius  who  usually  succeeded 
him.  On  the  return  to  Rome  of  Pope 
Gregory  XI,  the  two  choirs  were 
united.  The  Roman  singers  had  pre- 
viously been  collectively  known  as  the 
Sbola  Cantorum,  but  the  united  or- 
ganizations were  thenceforth  called 
Collegio  dei  Cappellani  Cantori,  and 
governed  by  a  Maestro  della  Cappella 
Pontiflca,  an  ecclesiastic  of  high  rank 
who  held  office  for  life.  From  1469 
this  post  was  held  by  14  bishops,  in- 
cluding GENET  of  Carpentras,  but  in 


1586  Pope  Sixtus  V  empowered  the 
college  to  elect  the  maestri  from  their 
own  number,  and  G.  A.  MERLO  was 
the  first  to  be  so  chosen.  Elections 
were  thereafter  held  annually,  and  the 
office  usually  fell  to  the  primo  basso. 
With  the  sojourn  in  Avignon  began 
the  supremacy  of  the  Netherland 
singers  and  composers,  of  whom  DU- 
FAYwas  the  most  important.  The 
combined  choirs  possessed  24  voices, 
but  in  the  16th  century  the  number 
was  increased  to  32,  where  it  has  since 
remained.  To  compensate  PALES- 
TRINA  for  his  troubles  with  the 
singers,  Pope  PiusiIV  made  him  com- 
poser to  the  pontifical  chapel,  1565,  a 
distinction  conferred  after  his  death 
on  Felice  ANERIO,  but  never  there- 
after. With  Palestrina  church  music 
and  the  manner  of  performing  it 
reached  their  highest  development,  and 
at  this  period  the  Sistine  Choir  may 
be  said  to  have  crystallized.  NANINI, 
BAI,  BAINI,  to  mention  a  few  of  the 
most  distingviished  members  of  the 
choir,  have  composed  for  it,  but  the 
earlier  traditions  have  been  preserved 
intact.  From  the  fourth  century  the 
singers  were  trained  in  schools  ex- 
pressly for  their  functions  in  connec- 
tion with  the  liturgy,  supplying  both 
sop.  and  con.  voices  for  many  Roman 
churches  as  well,  and  on  the  break- 
ing of  their  voices  being  placed 
either  in  the  seminaries  or  in  secular 
life,  as  seemed  best.  Boys'  voices  were 
first  replaced  by  falsetto  singers  im- 
ported from  Spain  in  the  16th  century, 
and  these  in  turn  gave  way  before  the 
castrati,  who  for  the  next  two  cen- 
turies supplied  both  church  and  stage 
with  high  voices.  The  church  vigor- 
ously condemned  the  practice  by  which 
these  voices  were  produced,  while  not 
refusing  to  avail  itself  of  those  which 
were  the  result  of  accident.  Finally 
the  necessary  operation  was  prohibited 
by  civil  authority  on  pain  of  death, 
which,  added  to  the  ipso  facto  excom- 
munication of  the  church,  ended  such 
atrocities.  Of  late  years  the  Sistine 
Choir  has  contained  a  number  of  nat- 
ural male  sopranos,  but  the  majority 
of  the  high  voices  were  supplied  from 
the  Scuola  di  S,  Salvatore,  a  maftrise 


40 


SISTBO 

which   supplied  all  the   churches  in 
Borne. 
Sistro.    /*.    TRIANGLE. 
Sistrum.      Eattle  which  consisted 
of  an  iron  frame,  with  cross  bars  sup- 
porting   rings,    employed    in    temple 
worship    by    Egyptians,    Greeks,    and 
Romans,  and  probably  by  the  ancient 
Jews  as  well. 
Si  Taoe.    It.    "  Be  silent." 
Sitole.     CITOLE. 
Sivolta.    /*.    "Turnover." 
Sivori  (Ernesto  CamiUo)  became 
one  of  the  foremost  violinists  of  his 
generation,  toured  Europe  repeatedly 
with   great   success,    and   North   and 
South  America,  1846-50,  debut  at  six, 
and  from  seven  the  pupil  and  protfigfi 
of    Paganini,   who    placed   him   with 
Costa  and  Dellpiane;    composed  two 
concertos  and  other  music  for  violin; 
knight  of  the  Orders  of  Carlos  II  and 
of  Christ;  gold  medal  of  honour,  Paris 
Conservatoire.      B.     Oct.    '  15,     1815, 
Genoa;    d.  Feb.  19,  1894,  Genoa. 
Sixifeme,  Sixte.    Fr.     SIXTH. 
Six  Pour  Quatre.   Fr.  SEXTOLET. 
Sixteen  Peet.     Length  of  the  open 
pipe,  unison  of  the  pedal  organ  and 
the  double  of  the  manuals. 

Slxteentli  ITote.    A  semiquaver. 
Sixth,  added.   Chord  of  *he  ADDED 
SIXTH. 

Sixth,  chord  of  the.  First  inver- 
sion of  the  common  chord  composed 
of  the  note,  its  third  and  sixth. 

Sixth,  Chord  of  the  French,  Ger- 
man, Italian.    EXTREME  SIXTH. 

Sixth,  Napolitan.  NEAPOLITAN 
SIXTH. 

Sjogren  (Emil)  composed  three  so- 
natas, "  Erotikon,"  Op.  10,  Novelettes, 
Op.  14,  and  other  works  for  piano; 
"  Der  Contrabandista,"  for  bass  and 
other  songs;  became  organist  Johan- 
kirke,  Stockholm,  1890;  pupil  Stock- 
holm Conservatory,  and  of  Kiel  and 
Haupt,  Berlin.  B.  Stockholm,  June  6, 
1853;   add.  Stockholm. 

Skald.  Scandinavian  minstrel  or 
scald. 

Skip.  Movement  from  one  note  to 
another  of  more  than  one  degree. 

Skizzen.  Ger.  Brief  unconven- 
tional compositions  descriptive  of  some 
subject. 


626  SMART 

Slancio,   con.     It.     With  impetu- 


osity. 

Slargando,  Slarcandosi.  It.  Ex- 
tending.   

Slentando.  It.  Diminishing  the 
time  by  degrees. 

Slide.  Passing  from  one  note  to 
another  without  distinction  between 
intervals;  mechanism  of  the  trumpet 
and  trombone,  lengthening  the  tube 
to  allow  of  a  new  series  of  harmonics; 
lath  or  slides  contracting  an  ORGAN 
register's  wind  supply. 

Sliding  Relish.  COULE.  Grace  in 
old  harpsichord  music. 

Slivinski,  von  (Joseph)_  played 
piano,  touring  Europe,  and  in  1894, 
America;  pupil  Warsaw  Conserva- 
tory, of  Leschetizky,  and  of  Rubin- 
stein in  St.  Petersburg.  B.  Dec.  15, 
1865,  Warsaw;    add.  Warsaw. 

Slur.  Curved  line  placed  over  notes 
showing  they  are  to  be  played  legato; 
sometimes  used  for  phrasing.  In  the  vio- 
lin score  the  slur  shows  that  the  notes 
under  it  are  to  be  played  with  one  bow. 
Smaniante,  Smaniare,  Sman- 
ioso.  /*.  Angry,  furious. 
Smanicare.  It.  To  shift. 
Smareglia  (Antonio)  composed 
"  Preziosa,"  Milan,  1879 ;  "  Bianca  da 
Cervia,"  La  Scala,  Milan,  1882;  "H 
Vassalo  di  Szigeth,"  Vienna,  1889, 
New  York  as  "  Der  Vasall  von  Szi- 
geth," 1890;  "La  Falena,"  Venice, 
1877,  and  other  dramatic  works  and 
the  symphonic  "Eleonora";_  pupil 
Vienna  and  Milan  Conservatories.  B. 
May  5,  1854,  Pola,  Istria. 

Smart  (George)  published  music 
in  London  from  1770.  D.  about 
1801.  Sir  George  Thomas  com- 
posed church  music,  glees,  canons; 
was  an  original  member  of  the  Lon- 
don Philharmonic  Society  and  its  con- 
ductor at  49  concerts,  1814-44;  con- 
ducted at  many  festivals  and  was 
regarded  as  an  authority  on  Handel; 
played  organ  Eng.  Chapel  Royal,  in 
succession  to  Charles  Knyvett,  1822; 
was  the  friend  of  von  Weber,  and  his 
host  on  his  fatal  visit  to  England, 
1826;  in  early  life  chorister  Eng. 
Chapel  Royal,  later  violinist  at  Salo- 
mon's concerts;  knighted,  1811,  after 
successful  concerts  in  Dublin,  by  the 


SMART                       637  SMITH 

Lord  Lieutenant.     B.  May  10,  1770;  wrote  on  thoroughbass,  London,  pub-v 

!,<f  of  GEORGE;    d.  Feb.  23,   1867.  lications  dated  1785  to  1800. 

Charles  Frederick  sang  Eng.  Chapel  Sminuendo,  Sminuito,  Smorendo. 

Koyal;     played   doublebass;     younger  It.     Diminishing  the   time  and  tone 

brother  of     SIR    GEORGE.     Henry  gradually. 

played   violin,    London   theatres    and  Smith  (Alice  Mary)  composed  two 

concerts;    pupil  of  Wilhelm  Cramer,  symphonies,    much     chamber    music, 

5v,^    ^T'    ^oi^don;     brother    of     SIR  songs;    pupil  Sir  W.  S.  Bennett.     B. 

GEORGE;  d.  Nov.  27,  1823.     Henry  May  19,  1839;    m.  Judge  F.  Meadows 

Thomas  composed  the  cantata  "The  White;   d.  Deo.  4,  1884. 

Bride    of    Dunkerron,"    Birmingham  Smith    (Charles)    composed   "The 

Festival,  1864,  and  many  sacred  and  Battle    of    Hohenlinden"    and    other 

dramatic  works;    played  organ  Lon-  songs;    "Hit  or  Miss,"  1810,  London, 

don  churches;    pupil  of  W.  H.  Kearns.  and    other    dramatic   pieces;     played 

B.    Oct.    26,    1813,    London;     son    of  organ;    chorister  Eng.  Chapel  Royal. 

HENRY;   d.  July  6,  1879,  London.  B.  1786,  London;   d.  Nov.  22,  1856. 

Smart    (Thomas)    composed    Tom  Smith  (Edward  Sydney)  composed 

Paine's  song  of  the  death  of  Wolfe;  popular  piano   pieces;    pupil  Leipsic 

played   organ    St.    Clement's,    Danes,  Conservatory.    B.  July  14,  1839,  Dor 


London,   1783, 
Smetana    (Friedrich)    composed 


Chester,  Eng. ;  d.  Mar.  3, 1889,  London. 
Smith,  Fa,ther.     English  name  of 


"  Die  VERKAUFTE  BRAUT  "  ("The  BERNARD  SCHMIDT, 
Bartered  Bride"),  a  highly  successful       Smith  (George  Townshend)  com- 

eomic  opera,  first  performed  1866  at  posed    church    music;    played    organ 

Gotha;    ranked   with    Dvorak   as   an  Hereford  Cathedral  from  1843;  pupil 

exponent  of  Bohemian  music;   became  of  Samuel  Wesley.    B.  Nov.  14,  1813. 

conductor  the  Prague  National  The-  d.   Aug.   3,    1877.     Alfred   Montem 

atre    on    its    foundation,    1861,    later  sang  Eng.  Chapel  Royal;  taught  Royal 

chief  conductor,  but  was  compelled  to  Academy  of  Music.    B.  May  13,  1828, 


of     GEORGE 
May     2,     1891, 
Samuel  played  organ;  boy 


relinquish  this  post  by  deafness,  1874,  Windsor;     brother 

and  a  few  years  later  became  insane.  TOWNSHEND;     d, 

Pupil  of  Proksch  and  of  Liszt,  Sme-  London. 

tana  was  conductor  of  the  Gothenberg,  chorister,  Eng.  Chapel  Royal."  B.  Aug. 

Sweden,  Philharmonic  Society,  1856-  29,  1821,  Eton;  brother  of  GEORGE 

60.     Then,  on  the  death  of  his  wife,  TOWNSHEND. 

Katharina  Kolar,  the  pianist,  he  made  Smith  (Gerrit)  composed  the  can- 

a  tour  of  Sweden  before  returning  to  tata  "  King  David,"  songs,  choruses, 

Prague.     Other  works   to  be   noted:  piano  music;   taught,  Union  Theologi- 

the  Bohemian  operas  "  Dalibor,"  1866;  cal  Seminary;    in  early  life  organist 

"Die     Brandenburger     in     Bohmen,"  at  BuflFalo  and  Albany;    pupil  Stutt- 

1806;    "Zwei  Witwen,"  1874;    "Der  gart  Conservatory,  of  Warren,  Thayer, 

Kiiss,"     1876;     "Das     Geheimness,"  Sherwood,   and  of  Haupt  and  Rohe, 

1878;   "Libussa,"  1881;   "  Die  Teufel-  Berlin;    A.M.  and  Mus.  Dr.,  Hobart 

swand,"  1882,  the  symphonic  poem  in  College.     B.   Dec.    11,    1859,   Hagers- 

six    sections   "Mein  Vaterland,"   fes-  town,  Md.;    add.  New  York, 

tival  march  for  Shakespeare  teroente-  Smith    (Dr.    J'ohn)    composed   the 

nary,  the  symphonic  poems  "Wallen-  oratorio  "The  Revelation"  and  some 

stein's  Lager,"  "Richard  III,"  "Hakon  church  music;   was  professor  of  music, 

Jarl,"  "  Triumphsymphonie,"  "  Prager  Dublin   University;    vicar  choral   St. 

Carneval,"  trio  for  piano  and  strings,  Patrick's,  master  of  the  King's  Band, 

string    quartets   in   B    minor   and   C  etc.    B.  1797,  Cambridge;    d.  Nov.  12, 

major;    part-songs   and  piano  music.  1861,  Dublin. 


B.  Leitomischl,  Bohemia,  Mar.  2, 1824; 
d.  May  12,  1884,  Prague. 


Smith    (John    Christopher)    was 
Handel's  pupil  and  later  his  amanu- 


Smethe'rgell   (William)    composed   ensis,  continued  the  Handel  series  of 
music    for    violin    and    harpsichord;    oratorio  performances  until  1774;  com- 


SMITH 


628 


SOEOIiOV 


posed  oratorios,  operas,  including  two 
based  on  "  The  Tempest "  and  "  Mid- 
summer Night's  Dream.''  B.  1712; 
son  of  Handel's  treasurer,  Schmidt;  d. 
Oct.  3,  1795. 

Smith.  (John  Stafford)  composed 
services,  anthems,  songs,  glees,  catches ; 
played  organ.  Chapel  Royal,  and  be- 
came master  of  the  children;  sang 
Eng.  Chapel  Royal,  lay  vicar  West- 
minster Abbey;  made  important  col- 
lection early  English  MS.,  dispersed 
after  his  death.  Son  of  Martin  Smith, 
organist  of  Gloucester  Cathedral;  d. 
Sept.  21,  1836,  London. 

Smith  (Bobert  Archibald)  pub- 
lished "  Sacred  Harmony  for  the 
Church  of  Scotland,"  1828,  and  many 
compilations  such  as  "  The  Scottish 
Minstrel,"  Edinburgh;  1820-29  was 
precentor  in  Scotch  churches.  B.  Nov. 
16,  1780;   d.  Jan.  3,  1829. 

Smith  (Wilson  G.)  composed  songs, 
piano  pieces,  "Octave  Studies,"  and 
other  technical  works;  taught  piano, 
voice,  and  composition,  Cleveland, 
Ohio;  pupil  Otto  Singer,  Cincinnati 
College  of  Music,  of  Kiel,  the  Schwar- 
wenkas,  etc.  B.  Aug.  19,  1855,  Elyria, 
Ohio;   add.  Cleveland. 

Smolensky  (Stephen  Vassilie- 
vich)  wrote  on  church  music;  made 
important  collections  of  early  MS.; 
taught  church  history,  Moscow  Con- 
servatory from  1889;  became  director 
of  the  imperial  chapels,  1901-3.  B. 
1848,  Kazan;   add.  Moscow. 

Smorfloso.    It.    Coquettish. 

Smorzando,  Smorzato.  It.  Fad- 
ing away  gradually. 

Smyth  (Ethel)  composed  the  one- 
act  opera  "  Der  Wald,"  Dresden,  1901, 
afterwards  performed  at  Covent  Gar- 
den, London,  and  Metropolitan  Opera 
House,  New  York;  "Les  Naufrag- 
eurs,"  performed  as  "  Strandrecht," 
Nov.  11,  1906,  Leipsic,  both  Wag- 
nerian in  treatment ;  songs,  Mass  in  D, 
overture  to  "  Anthony  and  Cleopatra," 
serenade  in  D  for  orchestra;  pupil  of 
Leipsic  Conservatory.  B.  April  23, 
1858,  London;  daughter  of  Gen.  J. 
H.  Smyth,  Royal  Artillery;  add. 
London. 

Snap.     SCOTCH  SNAP. 

Snare  Drum.    SIDE  DRUM. 


Snetzler  (John)  built  organs  in 
England.    B.  1710,  Passau;  d.  London. 

Snodham  (Thomas)  published  mu- 
sic in  London  from  1609  in  succession 
to  his  father-in-law,  Thomas  ESTE. 

Soave,  Soavemente.  It.  Daintily, 
delicately. 

Sobb.  Obsolete  word  for  damping 
in  lute  playing,  used  by  Mace,  1676. 

Societa  Armonica  gave  subscrip- 
tion concerts  in  London  under  baton 
of  H.  Forbes,  1827-50. 

Society  of  British  Composers  was 
founded  in  London,  1905,  to  encourage 
native  composers  by  producing  their 
works  at  subscription  concerts,  and 
publishing  them  at  the  expense  of  the 
Society  or  the  author. 

Society  of  British  Musicians  was 
founded  in  1834  to  produce  the  works 
of  native  composers,  and  in  1836  had  a 
membership  of  350,  including  many 
well  known  musicians,  gave  concerts, 
but  failed  to  awaken  general  interest, 
and  ceased  to  exist  1865. 

Sodermann  (August  Johann) 
composed  a  notable  Mass  for  soli,  cho- 
rus, and  orchestra,  many  operettas, 
including  "The  Devil's  first  Rudi- 
ments of  Learning,"  Sept.  14,  1856, 
Stockholm;  cantatas,  songs,  ballads; 
was  chorusmaster,  Stockholm  Opera; 
pupil  of  Richter  and  Hauptmann, 
Leipsic.  B.  July  17,  1832,  Stockholm; 
d.  Feb.  10,  1876,  Stockholm. 

Soggetto.    It.    Theme,  motif. 

Soinae.  L.  "Thorns."  Quills 
and  jacks  of  a  spinet  were  so  called, 
and  sometimes  the  instrument  itself. 

SoitzfLote,  Spindeflote.  Cter.  Or- 
gan stop  of  8  or  4  foot  pitch,  composed 
of  open  conical-shaped  flue  pipes,  giv- 
ing a  thin  tone. 

Sokalsky  (Peter  Petrovich)  wrote 
on  Russian  music ;  composed  "  Maria  " 
or  "Mazeppa,"  "A  Night  in  May," 
"  The  Siege  of  Doubno,"  collected 
folk  songs;  secretary  Russian  Con- 
sulate General,  N.  Y.,  1857-60;  B. 
Sept.  26,  1832,  Kharkov;  d.  Odessa, 
1887. 

Sokolov  (Nicholas  Alezandero- 
vich)  composed  chamber  music,  inci- 
dental music  to  "  The  Winter's  Tale," 
the  ballet  "The  Wild  Swans,"  80 
songs;     pupil     of    Rimsky-Korsakov, 


SOL 


639 


SOSCIS 


St.  Petersburg  Conservatory.  B.  1859, 
St.  Petersburg;  add.  St.  Petersburg. 

Sol.     Fr.    The  note  G. 

Sol-bemol.    Fr.    G  flat. 

Sol-bemol  majeur.  Fr.  Key  of 
G  flat  major. 

Sol-bemol  mineur.  Fr.  Key  of 
G  flat  minor. 

Soldat-Soger  (Marie)  played  vio- 
lin; pupil  of  Pleiner,  and  of  Joachim 
at  the  Vienna  Hochsehule,  where  she 
won  the  Mendelssohn  prize,  1882.  B. 
Mar.  25,  1864,  Graz;  m.  Herr  Eoger, 
1889 ;   add.  Vienna. 

Sol-di&se.     Fr.    G  sharp. 

Solenixemente.  It.  Gravely,  sol- 
emnly. 

Solennita.    It.    Gravity,  solemnity. 

Sol-fa.  It.  Names  for  the  notes 
in  music. 

Solfege.  Fr.  Exercise  in  singing 
in  which  the  notes  of  the  scale  are 
called  Do,  Re,  Mi,  Fa,  Sol,  La,  Si. 

Solfeggiamenti.     It.     SOLFEGE. 

Solfeggiare.  It.  The  practice  of 
solfeggi  or  SOLFEGE. 

Solfeggio.     It.    SOLFEGE. 

Solesmes  was  the  village  near  Le 
Mannes,  France,  made  famous  by  the 
Benedictines  whose  house  was  estab- 
lished there,  1833,  by  Dom  Prosper 
GuSranger,  who  became  its  abbot  and 
devoted  the  energies  of  the  community 
to  the  study  of  Gregorian  song.  Forced 
from  France  in  1901  by  the  French  gov- 
ernment, which  seized  their  press,  they 
settled  in  the  Isle  of  Wight,  removing 
in  1908  to  Quarr  Abbey,  near  Ryde. 
Dom  Pothier,  Dom  Jausions,  and  Dom 
Mocquereau  have  continued  to  direct 
the  researches  of  the  monks  and  their 
efi'orts  for  the  restoration  of  liturgical 
music  to  what  they  assume  it  to  have 
been  immediately  after  the  reforms  of 
Saint  Gregory  the  Great,  and  before 
the  corruptions  introduced  by  the 
Netherlands  composers.  By  appoint- 
ment of  Pope  Pius  X,  the  abbot,  Dom 
Paul  Delatte,  and  the  monks  of  So- 
lesmes are  editors  for  the  papal  com- 
mission which  is  publishing  a  new 
o£Scial  edition  of  the  Roman  Chant. 

Solie  or  Soulier  (Jean  Pierre) 
composed  "Jean  and  Genevieve," 
1792,  "Mademoiselle  de  Guise,"  1808, 
and  in  all  33  successful  comic  operas; 


in  earlier  life  ten.  and  later  bar.  at  the 
Paris  Opgra  Comique;  pupil  of  his 
father,  a  'cellist,  and  of  the  Nimes 
maltrise.  B.  1755,  Nimes:  d.  Aug.  6, 
1812,  Paris. 

Solist.    SOLOIST. 

Solito.     It.    In  the  usual  manner. 

SoUecito.  /*.  Careful,  attentive, 
solicitous. 

Solmisare.  It.  To  practice 
SOL-FA. 

Solmisation,  Sol-faing.  Singing  in 
which  the  SOLFEGE  names  of  notes 
take  the  place  of  words. 

Solmisiren.  Qer.  To  practice 
SOI^FA. 

Solo.    /*.    "Alone." 

Soloist.  Performer  who  sings  or 
plays  alone  or  with  the  aid  of  an 
accompaniment. 

Solo  Pitch.  Tuning  an  instrument 
higher  than  the  regular  pitch,  to  ob- 
tain a  more  brilliant  tone. 

Solospieler.     Qer.     Solo  player. 

Solostimme.  Oer.  Solo  voice  or 
part. 

Soloviev  (ITicholas  T.)  composed 
"  Cordelia  "  and  other  operas,  a  can- 
tata for  the  second  centennial  of  Peter 
the  Great,  fantasie  on  a  folk  song  for 
orchestra,  songs,  piano  pieces;  the 
symphonic  picture  "  Russians  and 
Mongols  " ;  completed  Serov's  opera 
"The  Power  of  Evil";  taught  St. 
Petersburg  Conservatory  from  1874, 
where  he  had  been  a  pupil;  wrote  mu- 
sic criticism.  B.  May  9,  1840,  Petro- 
zavodsk;    add.   St.   Petersburg. 

Somervell  (Arthur)  composed 
"  The  Forsaken  Merman,"  Leeds  Festi- 
val, 1895 ;  Mass  in  C  minor,  1891 ;  the 
ballad  with  orchestra  "  Helen  of  Kirk- 
connell  " ;  Song  of  Praise,  "  The  Power 
of  Sound";  "Ode  to  the  Sea,"  Bir- 
mingham Festival,  1897;  "Intimations 
of  Immortality,"  Leeds  Festival,  1907 ; 
a  setting  of  the  Seven  Last  Words, 
songs,  chamber  music,  a  symphony; 
became  inspector  of  music  for  Eng- 
land, Wales,  and  Scotland,  1901 ;  Mus. 
Dr.,  Cambridge,  1903;  pupil  of  Stan- 
ford, of  the  Berlin  Hochsehule,  Royal 
College  of  Music,  and  of  Parry. 
B.  June  5,  1863,  Windermere;  add. 
London. 

Somis  (Oiovannl  Battista)  com- 


SOKICEB 


630 


SOTSnSlAllLBVJjA 


posed  three  sets  of  sonatas  for  violin; 
taught  with  notable  success,  founding 
the  Piedmontese  school,  his  pupils  in- 
cluding Leclair  and  Pugnani;  pupil 
of  Corelli  and  Vivaldi.  B.  1676,  Pied- 
mont ;  d.  Aug.  14,  1763,  Turin. 

Sommer  (Br.  Hans)  composed  the 
opera  "  Lorelei,"  Brunswick,  1891, 
"Saint  Foix,"  Munich,  1894;  "  Der 
Meerman,"  Weimar,  1896,  "Rube- 
zahl,"  Brunswick,  1904,  "  Riquet  a  la 
Houppe,"  April  14,  1907 ;  many  songs. 
Educated  at  Gottingen,  where  he  was 
later  professor  of  Physics,  he  lived  in 
Berlin,  Weimar,  then  settled  in  Bruns- 
wick; real  name  Hans  Friedrich 
August  Zincken  or  Neckniz.  B.  July 
20,  1837,  Brunswick;   add.  Brunswick. 

Son.    Fr.    Tone. 

Sonabile.  It.    Resonant. 

Sonare.    /*.    To  sound  or  play. 

Sonata.  It.  "Sounded."  The  name 
applied  by  early  musicians  to  composi- 
tions which  were  to  be  played  rather 
than  sung,  the  generic  term  for  the 
latter  being  Cantata.  Da  Chlesa  was 
the  sonata  composed  for  use  in  church ; 
Da  Camera  for  that  intended  for  secu- 
lar use.  The  construction  and  devel- 
opment of  the  sonata  has  already  been 
discussed  under  FORM.  The  title  was 
first  aflSxed  to  the  compositions  of 
Bonifacio  Graziani,  in  the  16th  cen- 
tury, and  some  of  these  early  sonatas 
were  written  for  two  violins,  bass,  and 
organ;  but  while  symphonies,  string 
quartets,  and  chamber  compositions  in 
general  are  now  in  sonata  form,  the 
word  sonata  is  usually  restricted  to 
compositions  for  solo  instruments,  or 
a  solo  instrument  with  piano. 

Sonate.    Fr.    SONATA. 

Sonatina.  /*.  Brief  SONATA  in 
which  the  themes  are  not  developed 
at  length. 

Sonatine.    Fr.    SONATINA. 

Sonatore.    It.    Instrumentalist. 

Sonevole.    It.    Soimding,  resonant. 

Song.  Musical  setting  of  poetry  or 
prose;  poem  that  can  be  sung;  name 
used  to  designate  the  second  subject  of 
a  sonata. 

Songe  d'une  Nult  d'ete.  Am- 
broise  Thomas's  three-act  op6ra  com- 
ique,  to  book  by  Rosier  and  De  Leuven, 
caricaturing  Shakespeare  and  Queen 


Elizabeth,  was  first  performed  April 
20,  1850,  at  the  Paris  Opfira  Comique. 

Sounambula.  Vincenzo  Bellini's 
two-act  opera,  to  book  by  Romani,  was 
first  performed  Mar.  6,  1831,  at  La 
Seala,  Milan.  The  original  cast  con- 
sisted of:  Amina,  sop. ;  Mme.  Pasta; 
Elvino,  Rubini,  ten.;  Rodolfo,  Mari- 
ano, bar.;  Lisa,  Mme.  Poceani,  sop.; 
Amina,  the  orphan  ward  of  Teresa, 
wife  of  the  miller  in  a  Swiss  village, 
is  on  the  point  of  marrying  Elvino, 
a  wealthy  peasant.  Lisa,  who  keeps 
the  inn,  also  loves  Elvino,  while 
Alessio,  a  peasant  boy,  is  smitten 
with  love  of  the  landlady.  Rodolfo 
comes  upon  the  scene  and  promptly 
makes  love  to  Amina  to  the  great  dis- 
pleasure of  Elvino.  Rodolfo,  who  is 
really  the  lord  of  a  neighbouring 
village,  but  is  incognito,  is  warned 
by  peasants  that  the  inn  is  haunted. 
The  ghost  is  really  Amina,  who  is  a 
somnambulist.  Rodolfo  goes  to  his 
room  and  is  in  the  midst  of  a  pleasant 
flirtation  with  Lisa  when  the  sleeping 
Amina  walks  into  the  room.  Lisa 
hides  in  a  closet,  Rodolfo  quietly 
leaves  the  room,  and  the  unconscious 
Amina  retires  to  rest.  Lisa  then 
hurries  off,  forgetting  her  handker- 
cliief  as  she  goes,  and  returns  with 
Amina's  jealous  lover,  who  rushes  in 
sit  the  head  of  a  crowd  of  villagers, 
and,  finding  his  betrothed  asleep  in 
the  stranger's  room,  promptly  de- 
nounces her,  although  the  villagers 
maintain  her  innocence,  and  offers  to 
marry  Lisa.  In  the  second  act  Amina, 
again  walking  in  her  sleep,  steps  from 
the  window  of  the  mill  and  crosses 
safely  a  slender  bridge  which  threat- 
ens to  break  at  any  moment,  and 
when  she  reaches  the  ground  is 
clasped  in  the  arms  of  the  now  re- 
pentant Rodolfo,  who,  with  the  vil- 
lagers, has  trembled  at  her  feat,  and 
had  already  been  convinced  of  her 
faithfulness  by  the  discovery  of  Lisa's 
handkerchief  in  Rodolfo's  room.  The 
marriage  of  Elvino  and  Amina  fol- 
lows. The  principal  musical  num- 
bers are :  Act  I.  "  Sovra  il  sen," 
Amina;  "  Vi  rawiso,"  Rodolfo;  "Mai 
pift  dubbi!  "  Amina  and  Elvino; 
"  Osservatte,  I'uscio  e  aprito,"  village 


SONNLEITHNER 


631 


SOPBANO 


chorus;  "O  mio  dolor."  Act  II. 
"Tutto  esciolto,"  Elvino;  "Ah!  non 
giunge,"  Amina. 

Sonnleithner  (Christoph)  com- 
posed excellent  church  music,  36  quar- 
tets much  admired  by  Emperor  Jo- 
seph, and  symphonies  played  by  his 
friend  von  Kees;  pupil  of  his  uncle, 
a  choirmaster.  B.  Szegedin,  May  28, 
1734;  d.  Vienna,  Dec.  25,  1786.  Ig- 
naz,  von,  was  noted  as  an  amateur 
singer,  member  the  Gesellschaft  der 
Musikfreunde,  though  lawyer  by  pro- 
fession; ennobled,  1828.  Son  of 
CHRISTOPH;  d.  1831.  Anna  mar- 
ried Herr  Grillparzer,  and  became 
mother  of  the  famous  poet;  daughter 
of  CHRISTOPH.  Joseph  founded  the 
GESELLSCHAFT  DER  MUSIK- 
FREUNDE, of  which  he  remained 
honorary  secretary  for  life;  was  the 
friend  of  Schubert,  and  of  his  kins- 
man, Grillparzer;  translated  the 
FIDELIO  libretto  from  du  Bouilly, 
and  wrote  and  translated  numerous 
other  works  for  the  stage;  became 
secretary  for  the  court  theatres,  1804, 
in  succession  to  Kotzebue;  counsel- 
lor, knight  of  the  Dannebrog,  etc.  B. 
1766;  son  of  CHRISTOPH;  d.  Dec. 
26,  1835.  Leopold,  Edler  von,  as- 
sisted Schubert  in  the  publication  of 
the  "  Erl  Koenig "  and  other  early 
compositions,  was  in  close  touch  with 
the  musicians  of  the  day,  and  made  a 
collection  of  valuable  papers  which  he 
gave  to  the  Gesellschaft  der  Musik- 
freunde, of  which  he  was  long  a  useful 
member;  knight  of  the  Iron  Crown, 
etc.  B.  Nov.  15,  1797,  Vienna;  son  of 
IGNAZ;   d.  Mar.  3,  1873. 

Sonntagg  (Henriette)  sang  sop.  in 
opera,  debut  at  Prague  as  the  Princess 
in  "  Jean  de  Paris,"  at  15,  appearing 
soon  after  in  Vienna,  Berlin,  and  Leip- 
sic,  and  in  1826  capturing  Paris  with 
her  impersonation  of  "  Rosina "  in 
the  "  Barbiere  de  Seville."  Her  voice 
ranged  up  to  e  " ',  and  one  of  her  best 
rSles  was  "Euryanthe,"  which  she 
created  at  Weber's  request.  After  suc- 
cessful engagements  in  Paris  and  Lon- 
don, she  returned  to  Berlin,  and  soon 
married  Count  Rossi,  of  the  Sardinian 
legation.  To  sanction  this  union  offi- 
cially, the  King  of  Prussia  ennobled 


her  in  her  own  right  as  "von  Laua- 
stein."  For  a  time  she  retired,  her 
domestic  life  being  exceptionally 
happy,  but  the  loss  of  her  husband's 
fortune  made  it  necessary  for  her  to 
return  to  opera,  and  she  sang  in  Lon- 
don and  Paris,  and  made  a  highly  suc- 
cessful tour  of  the  United  States,  1852, 
and  extended  her  jounley  into  Mexico, 
where  she  was  attacked  with  cholera. 
Daughter  of  two  players,  she  had  been 
on  the  stage  from  childhood,  and  in 
1815  became  a  student  at  Prague  Con- 
servatory. B.  Jan.  3,  1806,  Coblenz; 
d.  June  17,  1854,  Mexico. 

Sonometer.  Instrument  measuring 
the  vibrations  of  sounds. 

Sonoramente.     It.    Harmoniously. 

Sonore.  Pr.  Sonorous,  .  resonant, 
harmonious. 

Sonorita.  It.  Sound,  resonance, 
harmony. 

Sonoro.  It.  Sonorous,  resonant, 
harmonious. 

Sonoropbone.  Metal  wind  instru- 
ment belonging  to  the  Bombardon 
class. 

Sons.  Fr.  Name  given  to  their 
lyrical  productions  by  the  Provengal 
poets. 

Sons  EtoufEe's.  Fr.  Muffled  tones 
produced  on  string  instruments  by  the 
use  of  the  mute. 

Sons  harmoniques.  Pr.  Har- 
monic tones. 

Sons  of  the  Clergy  was  a  corpo- 
ration of  musical  importance  solely 
from  the  fact  that  at  its  festivals, 
which  were  given  to  raise  funds  for 
the  support  of  the  families  of  needy 
clergymen,  Purcell's  and  Handel's 
music  was  performed,  and  sometimes 
works  of  modern  English  com- 
posers. From  1697  to  1908  these  fes- 
tivals were  held  in  St.  Paul's  Cathe- 
dral, London. 

Sons  Fleins.  Fr.  Full  round  tones 
either  by  voice  or  instrument. 

Sonus.    Lat.    Sound. 

Sopra.  It.  Upper,  above, .  upon, 
over. 

Sopran.    Ger.    SOPRANO. 

Soprana  Corda.  It.  The  highest 
violin  string. 

Soprano.  The  highest  human  voice 
normally  ranging  from  c '  to  a ",  but 


SOPKANO   CLEF 


632 


SOtTND-BOARD 


often,  by  means  of  the  "  head  toneSj" 
reaching  e ' ",  while  AGUJAKI  is  said 
to  have  sung  c  "  "  ,  a  feat  rivalled  in 
recent  years  by  Ellen  Beach  YAW. 
lliis  voice,  though  normally  found  in 
women  or  in  boys,  has  sometimes  been 
possessed  by  men,  and  it  is  said  that  a 
peculiar  method  of  developing  the  male 
falsetto  register  was  formerly  known 
in  Spain  by  which  a  big  black  beard 
and  a  high  soprano  might  be  possessed 
by  the  same  man.  Natural  or  falsetto 
male  sopranos  were  often  found  in  the 
Sistine  Chapel.  Some  of  the  most  cele- 
brated of  sopranos,  however,  were 
eunuchs,  like  FAEINELLI  and  SENE- 
SINO,  and  these  evirati  or  castrati 
were  in  great  demand  for  church  and 
stage  alike.  Their  class  died  out  in 
the  early  part  of  the  19th  century. 

Soprano  Clef.  C  clef  upon  the  first 
line  of  the  stave. 

Sorda.    It.    Muted,  muffled. 

Sordamente.    /*.    Gently,  softly. 

Sordini.  /*.  Instruments  of  wood, 
bone,  or  metal  used  upon  the  bridge  of 
a  violin  to  deaden  or  dampen  the 
tones;  mutes  of  wood  covered  with 
leather  are  sometimes  used  to  dampen 
the  sound  of  horns,  trumpets,  cornets, 
clarinets,  and  oboes,  the  mute  being 
inserted  in  the  bell;  dampers  of  a 
piano. 

Sordino.  It.  Mute;  small  violin 
used  to  give  the  pitch. 

Sordo,  Sorda.    It.    Muted. 

Sordun,  Sordono.  It.  Keed  organ 
stop  of  sixteen  foot  pitch;  obsolete 
wood  wind  instrument  with  a  double 
reed,  twelve  valves,  and.  two  keys; 
trumpet  mute. 

Soriano-Fuertes  (SCariano)  wrote 
valuable  works  on  Spanish  Music; 
composed  successful  operettas; 
founded  and  edited  the  "  Gaceta  Musi- 
cal Barcelonesa,"  1860;  taught  MA- 
DRID Conservatory;  directed  schools 
and  conducted  opera.  B.  1817,  Murcia; 
d.  Mar.  26,  1880,  Madrid. 

Sortisatlo.  Lat.  Counterpoint  in 
thirds  and  fifths. 

Sortuta.  It.  The  entrance  song  for 
a  character  in  opera ;    a  voluntary. 

Sospensivamente.  It.  Waver- 
ingly,  irresolutely. 

SoBpirando,     Sospirante,     Sospi- 


revole,     Sospiroso.       It.      Doleful, 

wretched. 

Sospiro.  It.  Formerly  a  minim, 
now  a  crotchet  rest. 

Sost.  It.  Abbreviation  of  SOSTE- 
NUTO. 

Sostenuto,  Sostenendo.  It.  "  Sus- 
taining." Maintaining  the  tone  for 
the  full  duration  of  the  notes  written. 

Soto  (Francisco)  composed  Laudi 
Spiritual!;  became  music  director  of 
the  Oratory  of  his  friend  St.  Philip 
Neri;  founded  the  first  Carmelite 
Convent,  in  Rome;  sang  in  pontifical 
chapel,  of  which  he  became  the  head. 
B.  1534,  Langa,  Spain;  d.  Sept.  25, 
1619,  Rome. 

Sotto.  It.  Below,  under;  as  Voce, 
in  an  undertone. 

Soubasse.  Fr.  "  Sub-bass ;  "  organ 
stop  of  32  foot  pitch. 

Soubies  (Albert)  wrote  numerous 
books  and  reviews  on  music  and  the 
drama,  crowned  by  the  Acadfimie,  in- 
cluding a  series  of  small  volumes  of 
history  by  various  countries;  knight 
of  the  Legion  of  Honour,  and  of  St. 
Stanislas;  pupil  Paris  Conserva- 
toire. B.  May  10,  1846,  Paris;  add. 
Paris. 

Soubrette.  Fr.  "  Serving  maid ;  " 
female  singer  taking  minor  rOles  in 
comic  opera. 

Souchantre.  Fr.  Officer  of  the  choir 
assisting  the  praecentor,  in  the 
cathedrals. 

Souflarah.  Persian.  Name  given 
to  wind  instruments  without  reeds  by 
the  Persians  and  Arabs. 

Soufflerie.  Fr.  Apparatus  or 
action  of  the  bellows  of  an  organ. 

So'ttfdeur.  Fr.  Organ  blower; 
theatre  prompter. 

Soum.     Burmese  HARP. 

Sound.  Term  in  ACOUSTICS  for 
tones  resulting  from  regular  vibra- 
tions as  opposed  to  noise. 

Sound-board.  Piece  of  resonant 
wood  placed  behind  the  strings  on 
the  piano  increasing  the  power  of  the 
tones;  air  chamber  containing  the 
feet  of  the  pipes  is  the  sound-board  of 
the  organ;  screen  placed  behind  the 
pulpit  or  over  it  to  allow  the  speak- 
er's voice  to  be  heard  all  over  the 
auditorium. 


SOTTND-BODT 


633 


SPIELER 


Sound-body.  RESONANCE  box. 

Sound  Post.  Small  post  or  peg  of 
wood  placed  in  instruments  of  tfie  vio- 
lin family  in  such  a  way  as  to  render 
uniform  the  vibrations  of  belly  and 
back.  Usually  its  position  is  nearly 
below  the  left  foot  of  the  bridge.  Size 
and  position  of  the  sound  post  have  an 
important  effect  on  the  tone  of  the 
instrument. 

Sound-waves.  Term  in  ACOUS- 
TICS for  vibrations  of  periodic  re- 
currence. 

Souplr.  Fr.  Crochet  or  quarter 
rest. 

Souplr  de  croche.  Fr.  Quaver  or 
eighth  rest. 

Souplr  de  double  croche.  Fr. 
Semiquaver  of  16th  rest. 

Souplr  de  triple  croche.  Fr.  A 
semiquaver  or  32d  rest. 

Sourdellne.  Fr.  Small  BAGPIPE 
or  musette. 

Sourdine.  Fr.  Stop  which  limits 
the  supply  of  wind  on  the  harmonium 
to  the  lower  half  of  the  instrmnent 
and  enables  the  player  to  softly  bring 
out  full  chords. 

Sous.  Fr.  "  Under,"  as  dominant, 
under  the  dominant  or  the  fourth. 

Sousa  (John  Philip)  became  one  of 
the  most  successful  of  American  com- 
posers, bandmasters,  and  musical  lit- 
erateurs.  Son  of  a  Spanish  trombonist 
in  the  U.  S.  Marine  band,  he  was  a 
pupil  of  John  Esputa,  and  of  G.  F. 
Benkert,  for  harmony  and  composition, 
and  at  17  was  conductor  for  travelling 
theatrical  organizations;  in  1877,  be- 
came violinist  in  the  orchestra  assem- 
bled by  Offenbach  for  his  American 
tour,  and  later  director  of  the  Phila- 
delphia church  choir  "  Pinafore  "  com- 
pany. In  1880  he  enlisted  in  the 
Marine  Band,  and  as  its  master, 
brought  it  to  the  highest  grade  of  ex- 
cellence. He  compiled  "National  Pa- 
triotic and  Typical  Airs  of  all  Coun- 
tries "  while  in  government  employ, 
and  thereafter  became  the  author  of 
a  popular  novel,  numerous  essays,  and 
instruction  books  for  violin,  drum, 
trumpet,  etc.  Resigning  in  1892,  he 
organized  the  military  band  which  had 
repeatedly  toured  the  world  under  his 
direction,  and  devoted  more  time  to 


composition.  The  most  successful  of 
his  comic  operas  were  "  El  Capitan," 
to  his  own  book,  "The  Bride  Elect," 
"The  Charlatan,"  "Chris  and  the 
Wonderful  Lamp."  He  composed  also 
three  suites,  the  symphonic  poem  "  The 
Chariot  Race"  (Ben  Hur),  and  such 
popular  marches  as  "  Washington 
Post,"  "The  High  School  Cadets," 
"  Stars  and  Stripes  Forever,"  "  Im- 
perial Edward."  B.  Nov.  6,  1866, 
Washington,  D.  C;    add.  Washington. 

Spaces.  Intervals  between  the 
lines  or  ledger  lines  of  the  staff. 

Spagnoletta.  It.  Dance  in  Span- 
ish style. 

Spanishes  Kreuz.  Oer.  Spanish 
cross.    Double  sharp  sign. 

Spanish  Guitar.     GUITAR. 

Spark  (Dr.  William)  composed 
anthems,  glees,  services;  lectured; 
founded  and  conducted  the  Leeds 
Madrigal  and  Motet  Society  and 
People's  Concerts;  played  organ  in 
Leeds  churches ;  pupil  of  S.  S:  Wesley, 
whose  assistant  he  became.  B.  Oct. 
28,  1823;    d.  June  16,  1897,  Leeds. 

Spartlto.     It.    Scored. 

Sparto.  It.  "Distributed,  scat- 
tered," as  of  the  parts  of  a  score. 

Spassapensiere.  /*.  JEW'S  HARP. 

Spatlum.     L.     Space. 

Spazlo.     It.     Space. 

Speyer  (Wllhelm)  composed  hun- 
dreds of  songs  and  much  chamber 
music;  played  violin;  pupil  of 
Thieriot  and  AndrS,  and  of  Baillot. 
B.  June  21,  1790,  Frankfort  on  Main; 
d.  April  5,  1878,  Frankfort. 

Spianato.     It.     Even,  smooth. 

Splccatamente.    It.    Brilliantly. 

Spiccato.  It.  Detached,  distinct, 
designated  in  NOTATION  by  dots 
over  the  notes.  ' 

Splcker  (Hax)  composed  suite  for 
orchestra,  cantata  with  orchestra,  etc. ; 
taught.  National  Conservatory  of 
Music;  conducted  Beethoven  Manner- 
chor,  New  York  (1882-88),  pupil  of 
Louis  Edhler  and  then  of  Leipsic  Con- 
servatory, became  conductor  in  various 
German  theatres.  B.  Aug.  16,  1858, 
KSnigsberg;   add.  New  York. 

Splelart.    Oer.    Manner  or  method. 

Spielen.    Oer.  ■  To  play. 

Spieler.    Oer.  Performer  or  player. 


SFIELMANIEBEN 


634 


SFOHB 


Spielmaniereu.  Qer.  Embellish- 
ments, ornaments. 

Spiering  (Theodore)  founded  the 
Spiering  Quartette,  Chicago;  played 
first  violin,  Thomas  Orchestra;  pupil 
of  Schradieck,  Cincinnati  College  of 
Music,  and  later  of  Joachim,  Berlin. 
B.  1871,  St.  Louis,  Mo.;  add.  Chicago. 

Spies  (Hermine)  sang  con.,  noted 
for  interpretations  of  Schubert,  Schu- 
mann and  Brahms  songs;  pupil  of 
Mme.  Fichtenberg,  Sieber,  and  Stock- 
hausen.  B.  Nassau,  Feb.  25,  1857; 
d.  Feb.  26,  1893. 

Spina  (Carl)  succeeded  to  the  pub- 
lishing house  of  Diabelli,  Vienna,  1852, 
giving  way  to  F.  Schreiber,  1872. 

Spindler  (Fritz)  composed  two 
symphonies,  chamber  music,  and  salon 
pieces  for  piano;  taught  piano  in 
Dresden;  pupil  of  F.  Schneider.  B. 
Nov.  24,  1817;  d.  Dec.  26,  1905,  near 
Dresden. 

Spinet.  Obsolete-keyed  instrument 
rather  like  the  HARPSICHORD,  but 
smaller.  The  strings  were  placed  at 
an  angle  with  the  keys  and  were 
sounded  by  means  of  leather  or  quill 
plectra. 

Spirito;  con,  Spiritosamente, 
Spiritoso.  It.  With  animation,  life, 
vivacity. 

Spirituale.     It.     Spiritual. 

Spirituel.    Fr.    Spiritual,  ethereal. 

Spissa.  L.  "Close;"  designated 
the  intervals  in  the  enharmonic  and 
chromatic  scales;  formerly  the  spis- 
sum  was  a  semitone. 

Spitta  (Julius)  wrote  the  standard 
life  of  J.  S.  Bach,  Eng.  trans.,  two 
vols.,  Novello  &  Co.,  1884-85;  edited 
works  of  Buxtehude  and  H.  Sehutz; 
taught  history  of  music,  Berlin  Uni- 
versity, and  Hoehschule  filr  Musik, 
and  was  Perpetual  Secretary,  Acad- 
emy of  Fine  Arts;  helped  found Bach- 
verein,  Leipsic,  1874;  studied,  GSt- 
tingen  University.  B.  Dec.  27,  1841, 
Wechold,  Hanover;  d.  April  13,  1894, 
Berlin. 

SpofEorth  (Reginald)  composed 
"Come,  Boimteous  May,"  and  many 
other  glees;  pupil  of  his  uncle,  Thomas 
Spoflorth,  an  organist.  B.  Southwell, 
Nottingham,  1770;  d.  Sept.  8,  1827, 
Brompton.      Samuel     played     organ 


Peterborough  and  Litchfield  Cathe- 
drals; composed  church  music.  B. 
1780;  Brother  of  REGINALD;  d. 
June  6,  1864,  London. 

Spohr  (Louis)  composed  concertos 
for  violin  of  which  Nos.  7,  8,  and  9 
are  still  admired,  the  opera,  "  JES- 
SONDA,"  and  nine  others,  more  than 
200  works  in  all  forms;  was  among 
the  greatest  of  violinists  and  one  of 
the  best  conductors  of  his  generation; 
the  worst  of  music  critics,  since  he 
condemned  the  greatest  of  Beethoven's 
works,  but  an  excellent  teacher  and 
the  author  of  a  standard  "  Violin 
School "  in  three  parts.  Son  of  a 
musician  who  was  an  excellent  ama- 
teur, and  of  a  mother  who  sang  and 
played  piano,  young  Spohr  began  to 
play  violin  at  five,  and  shortly  after- 
wards composed  his  first  violin  duos. 
During  his  school  days  in  Brunswick 
he  studied  violin  with  Kunisch  and 
theory  with  Hartung,  and  played  a 
concerto  of  his  own  at  a  school  concert 
which  led  to  his  first  appearance  with 
the  ducal  band,  and  to  lessons  from 
Maucourt,  its  concertmeister.  At  14, 
he  made  his  first  concert  tour,  with 
so  much  success  that  the  Duke  of 
Brunswick  placed  him  with  Franz  Eck, 
with  whom  he  travelled  in  Russia  and 
Germany.  Returning  to  Brunswick, 
he  played  in  the  ducal  orchestra,  mak- 
ing occasional  tours,  and  playing  with 
Meyerbeer  in  Berlin,  then  a  lad  of  13, 
but  losing  a  Guarnerius  which  had 
been  given  him  by  a  Russian  admirer, 
while  on  his  way  to  Paris,  and  in 
consequence  abandoning  that  journey. 
He  was  concertmeister  at  Grotha  from 
1805,  and  there  met  the  harpist  Dorette 
Scheidler,  who  became  his  wife.  Rout- 
ine work,  concert  tours  and  composing 
occupied  his  time  until  1812,  when  he 
settled  in  Vienna  as  conductor  of  tht- 
Theatre  an  der  Wien.  It  was  during 
this  sojourn  in  Vienna,  which  con- 
tinued three  years,  that  he  came  in 
contact  with  Beethoven,  and  expressed 
the  opinion  that  the  chorale  of  the 
Ninth  Symphony  was  "  monstrous  and 
tasteless."  After  a  quarrel  with  the 
Vienna  managers,  he  resumed  his 
tours,  and  in  1818  settled  in  S'rankfort 
as  conductor  of  the  opera,  and  there 


SFOEB 


635 


SPONTINl 


produced  his  operas  "Faust,"  and 
"  Azor  und  Zemire."  Two  years  later 
h.e  made  his  first  appearance  in  Lon- 
don, where  he  conducted  two  of  his 
own  symphonies,  at  the  Philharmonic 
concerts,  using  the  baton,  then  new  to, 
England,  and  achieving  a  general  art- 
istic and  financial  success.  Then  he 
visited  Paris,  but  was  better  received 
by  musicians  than  the  public,  settled 
for  a  time  in  Dresden,  and,  through 
Weber's  influence,  became  court  chapel- 
master  at  Cassel,  where  he  remained 
for  life.  "  Jessonda,"  produced  at 
Cassel,  1823,  soon  made  the  round  of 
the  German  opera  houses,  and  he  con- 
ducted his  oratorio,  "  The  Last  Judg- 
ment," at  the  Diisseldorf  (Rhenish) 
festival  of  1826,  in  1831  completed  his 
"  Violin  School,"  and  the  following 
year  produced  his  symphony  "  Die 
weihe  der  Tone,"  Op.  86,  The  Conse- 
cration of  Sound.  His  oratorio  "  Des 
Heiland's  letzte  Stunden,"  ("Cal- 
vary " )  was  inspired  by  the  death  of 
his  wife,  1834,  but  two  years  later  he 
consoled  himself  by  marrying  the 
pianist,  Marianne  Pfeiffer.  In  1839 
he  again  visited  London  and  produced 
his  "Calvary"  at  the  Norwich  Festi- 
val, where  its  enthusiastic  ■  reception 
led  to  his  receiving  a  commission  to 
compose  "The  Fall  of  Babylon,"  for 
the  festival  of  1842.  While  at  Cassel 
he  had  produced  "Fliegende  Hol- 
lander," 1842,  and  "  Tannhauser," 
1857,  and  had  tried  in  vain  to  put  on 
"Lohengrin,"  thus  evincing  his  early 
admiration  for  Wagner,  and  had  raised 
the  reputation  of  the  court  musical 
organizations,  but  his  frequent  visits 
to  other  cities  and  his  inclination  to 
meddle  in  politics  raised  a  cabal 
against  him,  and  he  was  retired  on 
pension,  1857.  A  few  months-later  he 
broke  his  arm  and  was  forced  to  aban- 
don his  violin,  and  his  last  appearance 
in  public  took  place  in  Prague,  1858, 
when  he  conducted  his  "  Jessonda,"  at 
the  Conservatory  semi-centennial.  Be- 
sides the  works  already  mentioned, 
Spohr  composed  eight  overtures,  15 
violin  concertos,  (the  8th,  A  minor. 
Op.  47,  known  as  "In  modo  duna 
scena  cantante "),  a  mass  with  orches- 
tra, the  dramatic  cantata  "Das  Be- 


freite  Deutschland,"  nine  symphonies, 
of  which  the  most  important  are: 
"Historical,"  No.  6,  in  G,  Op.  116, 
dedicated  to  the  London  Philharmonic 
Society;  "  Irdischenes  und  GSttlisches 
im  Menschenleben,  No.  7  in  C,  Op.  121 
for  double  orchestra;  No.  8,  G  minor, 
Op.  137;  No.  9,  "Die  Jahreszeiten  " 
(The  Seasons),  B  minor.  Op.  143;  a 
quartet  concerto  for  double  string 
quartet,  two  concertantes  for  two 
violins  with  orchestra,  two  clarinet 
concertos,  the  operas  "  Der  Zweikampf 
mit  der  Geliebten,"  "  Der  Alchymist," 
"  Die  Kreuzfahrer,"  "  Der  Berggeist," 
many  part-songs,  songs  and  much 
chamber  music.  B.  April  5,  1784, 
Brunswick;  d.  Oct.  22,  1859,  Cassel. 
See  Autobiography,  lives  by  Malibran, 
1860,  and  H.  M.  Schletterer,  1881. 

Spondalium,  Spondaulium.  L. 
Sacrificial  hymn  accompanied  by  a 
flute. 

Spondee.  L.  Metrical  foot  con- 
sisting of  two  long  syllables. 

Spoijitinl  (Gasparo  Luigi  Faciflco) 
composed  the  operas  "  La  Vestale," 
which  won  Napoleon's  prize  as  the 
beat  work  of  its  kind  in  a  decade,  with 
the  approval  of  M€hul,  Gossec,  and 
Grety,  Paris,  1807 ;  "  Olympic,"  which 
he  considered  his  masterpiece;  then 
secured  an  appointment  at  the  Prus- 
sian court,  which  he  held  despite  bitter 
opposition  for  a  score  of  years;  won 
wealth  from  princes  and  the  title 
Count  of  Sant'  Andrea  from  the  Pope, 
but  failed  to  create  anything  highly 
valued  to-day.  Son  of  a  peasant  fam- 
ily, three  of  his  brothers  had  entered 
the  church,  and  he,  too,  was  destined 
for  the  priesthood,  but  his  love  of 
music,  which  his  parents  vainly  tried 
to  repress,  cailsed  him  to  run  away 
from  home,  and  he  took  refuge  with 
an  uncle  who  allowed  him  to  take 
lessons  of  Quintiliani.  A  year  later 
his  family  took  him  back,  and  this 
time,  by  advice  of  the  same  uncle,  who 
was  a  priest,  who  had  insisted  that 
young  Spontini  be  prepared  for  the 
seminary,  he  was  taken  to  Naples  and 
placed  in  the  Conservatorio  de'  Tur- 
chini,  1791.  There  his  progress  was 
rapid.  The  director  of  the  Teatro 
Argentina,  Rome,  beard  Bome  of  Spon- 


SPONTINI                    636  SPONTINI 

tini'B  music  while  in  Naples,  1796,  and  aides,"  was  next  composed,  and  then 
commissioned  him  to  write  an  opera,  he  produced  "  Olympie,"  book  by 
"  I  Puntigli  delle  Donne "  was  the  Briffaut  and  Dieulafoy,  based  on  Vol- 
result,  but  the  composer,  who  was  then  taire's  tragedy.  The  first  performance, 
but  18,  had  absented  himself  without  Dec.  15,  1819,  Paris,  was  not  a  bril- 
leave,  and  it  required  the  intercession  ,liant  success,  although  it  represented 
of  Piccinni  to  gain  him  readmission  four  years'  work,  but  the  composer 
to  the  conservatory.  His  next  opera,  had  the  libretto  modified,  revised  the 
"L'Eroismo  ridicolo,"  Rome,  1797,  music,  and  it  was  well  received  in 
was  composed  with  the  benefit  of  ad-  Berlin,  May  14,  1821,  and  after  further 
vice  from  Piccinni,  and  showed  marked  revision,  was  again  produced  with 
improvement.  "  II  finto  Pittore,"  1798,  complete  success,  Paris,  Feb.  28,  1826. 
Rome,  and  three  operas  produced  in  Meantime,  however,  negotiations  had 
Florence,  1798,  aroused  the  interest  of  been  pending  with  Count  Bruhl,  royal 
the  Neapolitans,  and  his  "  L'Eroismo  intendant  for  Friedrich  Wilhelm  of 
ridicolo,"  was  given  there  during  the  Prussia,  looking  to  the  appointment 
carnival,  and  next  year  expanded  to  of  Spontini  as  chief  chapelmaster  and 
two  acts,  and  performed  as  "  La  finta  superintendent  general  of  music  to 
Filosofa,"  and  his  "La  fuga  in  mas-  that  court.  In  1820,  these  negotia- 
chera"  was  produced  at  the  carnival  tions,  finally  carried  on  over  the 
of  1800.  Spontini  had  accompanied  the  Count's  head,  were  brought  to  a  con- 
court  to  Palermo  on  the  outbreak  of  elusion,  and  Spontini  settled  in  Nthe 
the  French  Revolution,  and  there  he  German  capital  with  practically  su- 
eontinued  to  compose  works  for  the  pre!me  power  in  all  matters  pertaining 
court  opera,  and  for  Rome  and  Venice  to  music.  He  composed  the  festival 
until  1803,  when  he  settled  in  Paris,  play  "  Lalla  Rukh,"  based  on  Moore's 
"  Julie,"  and  "  La  petite  Maison,"  com-  poem,  which  was  said  to  have  been 
posed  in  the  Neapolitan  style,  were  one  of  the  most  brilliant  productions 
promptly  hissed  off  the  boards  by  the  ever  seen  in  Berlin,  and  the  following 
Parisians,  but  his  one  act  "  Milton,"  year  "  Nourmahal,"  which  included 
Nov.  27,  1804,  was  better  received,  and  some  of  the  music  of  the  earlier  work. 
Empress  Josephine,  to  whom  the  score  "  Alcindor,"  1825,  proved  a  failure, 
was  dedicated,  made  him  her  composer,  but  "  Agnes  von  Hohenstafen,"  1829, 
The  book  to  "  Milton,"  was  by  fitienne  was  comparable  in  merit  to  "Olympie," 
Juoy,  who  also  provided  the  libretto  although  it  never  obtained  equal  pop- 
for  "  La  Vestale,"  Spontini's  next  ularity.  Spontini  was  soon  at  outs 
work,  and  this  was  finally  put  in  re-  with  Briihl,  with  the  Mendelssohns, 
hearsal  at  the  Op6ra  in  deference  to  with  most  of  the  German  musicians, 
the  wishes  of  Josephine,  after  Spontini  and  the  Berlin  public.  He  was  quick 
had  gained  the  good  will  of  the  public  tempered,  a  foreigner,  unable  to  speak 
by  his  cantata  "  L'Eccelsa  Gara,"  sung  German,  and  the  interest  he  showed  in 
at  the  celebration  of  the  battle  of  presenting  German  masterpieces  failed 
Austerlitz.  "  Fernand  Cortez,"  was  to  atone  for  these  facts.  The  King 
his  next  opera,  and  in  this  Napoleon  continued  faithful  in  his  admiration 
himself  took  a  personal  interest.  It  and  support  until  his  death,  1840,  but 
proved  a  great  success,  Nov.  28,  1809,  Friedrich  Wilhelm  III  was  by  no 
and  won  the  composer  his  appoint-  means  so  attached  to  the  composer, 
ment  as  conductor  of  ttie  Italian  In  1841  Spontini  was  mobbed  as  he 
opera.  Quarrels  with  the  direction  was  about  to  conduct  a  performance 
over  money  matters  caused  him  to  be  at  the  Opera  House,  and  never  showed 
dismissed,  1812,  but  two  years  later  his  face  there  again.  Then  his  finan- 
the  Bourbons  returned  to  power,  and  cial  disputes  brought  him  into  litiga- 
Spontini  was  ready  with  a  "  festival  tion  with  the  court,  and  in  the  autumn 
opera,"  "  Pelage,  ou  le  Roi  de  la  Paix,"  his  connection  with  Berlin  ended, 
and  was  rewarded  with  an  appoint-  The  new  King  allowed  him  to  retain 
ment  at  court.  The  ballet  music  "  Dan-  his  titles  and  salary,  and  to  live  where 


SPONTONI 


637 


STAINEB 


he  pleased,  "  in  the  hope  that  in  repose   the   best   compositions   are   those   by 
he  might  produce  new  works,  which  the    Palestrina,  Eossini,  and  by  Pergolesi. 
King  would  hail  with  pleasure,  if  he   The  hymn  is  used  during  Passion  week 
chose  to  conduct  them  in  person  at   in  the  Roman  Catholic  Church. 
Berlin."^   Broken  in  health  and  spirit.       Stabile.    /*.    Firm,  steady. 
Spontini  returned  to  Italy,  then  lived       Stabilini    (Girolamo)    played  vio- 
for   a   time   in   Paris,   and   while   in   lin:     concertmeister    Edinburgh    con- 
Dresden,    1844,  conducted  a  perform-    certs.     B.    1762,   Rome;    d.  July   13, 
ance  of  "  Vestale,"  for  Wagner,  which    1815,  Edinburgh, 
proved    his    last    public    appearance.       Stacc.    Abbreviation  of  STACCATO. 
Toward  the  close  of  his  life  he  settled       Staccare.    /*.    Make  STACCATO, 
in  Jesi,  Italy,  establishing  schools  and       Staccatissimo.     It.    Extremely 
other    useful    institutions.      Spontini    STACCATO. 

received  his  title  from  the  Pope  in  Staccato.  It.  Detached,  quick  play- 
1844,  and  was  a  Dr.  Phil.,  Halle,  mem-  ing  or  singing  of  certain  notes  making 
ber  of  the  Prussian  Ordre  pour  le  them  as  short  as  possible;  signified 
m6rite,  and  of  the  French  Acad6mie  and   on  the  score  by  a  small  dash. 

~ —    —       -■  Staden    (Johann)    composed    and 

played  organ,  Nuremberg.     B.  about 


Berlin  .^ademie.     B.  Nov.  14,  1774, 
Majolati,  near  Jesi;   d.  Jan.  14,  1851. 

See  biographies  by  L.  de  Lomenie,  1841,  1579 ;  d.  "1634.  Sigmund  Gottlieb 
Montanari,  1851;  Raoul-Rochette,  "  Theophil,"  composed  "  Seelewig," 
1882.  1644,  the  first  singspiele  to  be  i>rinted; 

Spontoni  or  Spontone  (Bartolom-    composed  chorales;    wrote  an  instruc- 
meo)  composed  madrigals  dated  1558-   tion  book  for  singing,  1648 ;    son  and 
~  -    ■     ■      pupil  of  JOHANN.    B.  1607,  Nurem- 
berg;   d.  July  30,  1655,  Nuremberg. 

Stadlmayr     (Johann)     composed 
church   music;     became  chapelmaster 

__^ ^_  ^ ^         .to     Archbishop     of     Salzburg,     1603, 

played  organ  at  Florentine  court  and  later  to  various  members  of  the  im- 
Cathedral  from  1467.  D.  1475,  perial  family  of  Austria.  B.  1560, 
Florence.  Freising,  Bavaria;    d.  July  12,  1648, 

PIANO  in  square   Innsbruck, 


88;  chapelmaster  Verona  Cathedral; 
pupil  of  Nicola  Mantovano. 

Spring.  Obsolete  word  for  tune  or 
melody. 

Squarcialupi  (Antonio)  composed; 


Square  Piano, 
case. 

Squillante.     It. 


_^ Bell-like,  ringing, 

Squire  (William  Henry)  composed    sicians. 
a    concerto    and    other  'cello    pieces,        Staff,   Stave, 


Stadtmusikanten,     Stadtpfeifler, 
Stadtzinkenisten.     Oer.     Town  mu- 


Five  lines  used  in 


songs,  operettas;    played  'cello  Covent  the  NOTATION  of  music. 

Garden;    pupil  of  his  father,  an  ama-  Staggina    (Nicholas)    composed 

teur    and   later   of   Powell  at   Royal  songs,  music  for  Dryden's  "Conquest 

College   of   Music,   where   he  ^won    a  of   Granada " ;     Master   of  Music  to 


scholarship.  B.  Aug.  8,  1871,  Ross, 
Herefordshire;  add.  London.  Emily 
sang  sop.  in  concerts,  debut,  Bath, 
1888;  pupil  Royal  College  of  Music; 
sister  of  WILLIAM  HENRY,  add. 
London.  . 

Sroutis.  The  twenty-two  parts  mto 
which  the  Hindu  scale  is  divided. 

Sta.     /*.  To  be  played  as  written, 


Charles  II,  1682,  Mus.  Dr.  Cambridge, 
and  its  first  professor  of  music,  1684. 
D.  1705. 

Stainer  (Jacob)  made  violins  once 
highly  prized,  of  sweet,  but  not  very 
powerful  tone,  dated  from  1641  to 
1677.  Tradition  says  that  while  a 
journeyman  he  worked  for  a  time  in 
AMATI'S  shop  in  Cremona,  and  his 


Stabat  Mater.     Latin  hymn  on  the  instruments  are  of  the  same  general 

crucifixion,  the  words  of  which  were  type,  but  higher  and  fiatter  m  body 

said  to  have  been  written  by  Jacopone,  Foraierly   a    good    specimen    brought 

a  Franciscan  monk  of  the   13th  cen-  $500,  but  the  price  has  since  decreased 

a  Franciscan  monK^  composers  have  to  about  $100     Many  spurious  instru- 

written  music  to  the  Stabat  Mater,  but  ments    bear    forgeries  of    hw    label. 


STAINEB 


638 


STANFORD 


Although  the  first  and  greatest  of 
German  violin  makers,  he  vainly  ap- 
pealed to  the  Emperor  for  pecuniary 
aid  in  his  old  age,  became  insane,  and 
left  his  faihily  in  want.  B.  July  14, 
1621,  Absam,  near  Innspruck;  d.  about 
1683.  Marcus  made  violins ;  pupil  of 
his  brother,  whose  name  he  sometimes 
pasted  in  his  instruments. 

Stainer  (Dr.  Sir  Jolin)  played  organ 
St.  Paul's  Cathedral,  London,  1872-88; 
composed  the  oratorio  "  Gideon,"  the 
cantata  "Daughter  of  Jairus,"  a 
"Sevenfold  Amen,"  "St.  Mary  Mag- 
dalen," cantata  for  the  Gloucester 
Festival,  1883;  "The  Crucifixion," 
oratorio,  1887;  wrote  primers  on- 
Harmony  and  the  Organ,  and  with 
Barrett,  a  "  Dictionary  of  Musical 
Terms,"  Novello,  1876;  became  prin- 
cipal of  the  National  Training  School 
in  succession  to  Sullivan,  1881;  pro- 
fessor of  music  at  Oxford,  1889; 
master  of  the  Musicians'  Company; 
Inspector  of  Music  in  succession  to 
HuUah;  was  knighted  1888  by  Queen 
Victoria;  chevalier  of  the  Legion  of 
Honour.  In  1847  he  became  a  chorister 
in  St.  Paul's  Cathedral,  and  soon  mas- 
tered the  organ,  playing  that  instru- 
ment in  1854  at  the  church  of  St. 
Benedict  and  St.  Peter,  then  taking 
the  classical  course  at  Oxford,  won 
his  B.A.  1863,  and  was  thereafter  ap- 
pointed organist  to  the  University, 
and  conductor  of  various  college 
musical  societies.  In  1865  he  received 
his  doctor's  degree,  and  the  following 
year  became  one  of  the  examiners. 
B.  June  6,  1840,  London;  d.  Mar.  31, 
1901,  Verona. 

Stamaty  (Camille  Harie)  com- 
posed piano  concertos,  sonatas,  and 
text-books;  taught  Gottschalk,  Saint- 
Saens;  pupil  of  Mendelssohn;  che- 
valier of  the  Legion  of  Honour.  B. 
Mar.  23,  1811;    d.  April  19,  1870. 

Stamitz  (Tohann  Wenzl  Anton) 
composed  45  symphonies,  10  orchestral 
trios ;  violinist  to  the  Electoral  court, 
Mannheim.  B.  Deutschbrod,  June  19, 
1717;  d.  1757.  Anton  Thaddeus 
played  'eello;  entered  the  chu'rch. 
B.  1721 ;  brother  of  J.  W.  A. ;  d.  Aug. 
23,  1768.  Carl  composed  70  sym- 
phonies, the  operas  "    Der  Verliebte 


Vormund"  and  "Dardanus";  played 
viola  and  viola  d'amore ;  son  and  pupil 
of  J.  W.  A.  B.  May  7,  1746,  Mann- 
heim; d.  1801,  Jena.  Anton  com- 
posed 13  symphonies,  three  piano  con- 
certos and  much  chamber  music;  son< 
and  pupil  of  ANTON  THADDEUS. 
B.  1753,  Mannheim;    d.  1820,  Paris. 

Stammakkord.      Oer.      Chord    on 
the   fundamental  key. 

Stampita.  /*.  Song,  air. 
Stanbury  (George  Frederick) 
composed  music  for  "  Puss  in  Boots," 
London,  1832,  etc.;  sang  and  conducted 
in  London  theatres;  pupil  of  his 
father,  a  musician  of  Bristol.  B. 
1800;  d.  June  3,  1845. 
Standchen.  0er.  SERENADE. 
Standhaft.  Ger.  Steadfast,  firm. 
Stanford  (Dr.  Sir  Charles  Vil- 
liers)  composed  the  successful  opera 
"  Shamus  O'Brien,"  Mar.  2,  1896,  Lon- 
don Opera  Comique;  Breslau,  1907; 
an  "  Irish  Symphony,"  and  more  than 
100  works  in  all  forms;  played  organ; 
conducted  the  Bach  choir,  1887-1902 
in  succession  to  Goldschmidt;  became 
professor  of  music,  Cambridge  Univer- 
city,  in  succession  to  Sir  G.  A.  Mac- 
farren,  1887.  Pupil  of  Arthur  O'Leary 
and  Sir  Robert  Stewart  in  Dublin, 
where  his  father,  a  court  oflScial,  was 
known  as  an  amateur  singer,  young 
Stanford  composed  his  first  songs  and 
piano  pieces  while  still  a  child,  and 
a  march  composed  at  12  was  played 
in  the  Theatre  Royal.  In  1870  he 
entered  Queen's  College,  Cambridge,  as 
a  choral  scholar,  and  three  years  later 
passed  to  Trinity  College,  where  he 
had  been  made  organist  in  succession 
to  Dr.  Hopkins,  and  1874  was  gradu- 
ated with  Classical  Honours.  Then  he 
studied  with  Reinecke  in  Leipsic,  and 
Kiel  in  Berlin,  and  at  Tennyson's  sug- 
gestion, composed  incidental  music  for 
"  Queen  Mary,"  and  enhanced  the 
reputation  thus  acquired  by  the  pro- 
duction of  a  symphony  in  B  flat.  In 
1877  he  gave  a  concert  at  which  the 
works  of  Brahms  and  Joachim  were 
performed  in  England  for  the  first 
time,  and  1881  witnessed  the  pro- 
duction of  his  first  opera,  "  The  Veiled 
Prophet  of  Khorassan,"  Court  Theatre, 
Hanover,     Feb,     6.      His     orchestral 


STANGHETTA 


639 


STAUDIGIi 


serenade,  Op.  17,  was  first  performed 
at  the  Birmingham  Festival,  1882,  and 
the  following  year  he  received  his  doe- 
tor's  degree  from  Oxford,  and  the 
same  honour  from  Cambridge,  1888. 
In  1901  conducted  the  Leeds  Festival, 
and  was  knighted.  Other  works  to  be 
noted :  the  operas  "  Savonarola,"  Ham- 
burg, April  18, 1884;  "  The  Canterbury 
Pilgrims,"  Drury  Lane  (Carl  Rosa 
company),  1884;  "Much  Ado  About 
Nothing,"  Covent  Garden,  London,  May 
30,  1900;  Mass  in  G,  Te  Deum, 
Requiem,  Stabat  Mater,  the  oratorio 
"  Eden,"  the  choral  ballad  "  Revenge," 
Leeds  Festival,  1896;  "Songs  of  the 
Sea,"  bar.  male  chorus  and  orchestra. 
Op.  91;  four  Irish  Dances  for  orchea-- 
tra.  Op.  89,  Communion  Service,  three 
Morning  and  Evening  services;  "The 
Resurrection,"  Leeds,  1875;  "The 
Three  Holy  Children,"  Birmingham, 
1885;  "Jubilee  Ode,"  1887;  "The 
Bard,"  Cardiff,  1895,  the  "Irish 
Rhapsody,"  1902;  "Phaudrig  Cro- 
choore,"  Norwich,  1896;  the  sym- 
phonies "Elegiac,"  "L' Allegro  ed  il 
Pensieroso,"  "  In  Memoriam  "  ( B  flat ) . 
B.  Sept.  30, 1852,  Dublin;  add.  London. 

Stanghetta.  /*.  Bar  in  NOTA- 
TION. 

Stanley  (Albert  Augustus)  com- 
posed the  ode  with  orchestra,  "The 
City  of  Freedom,"  Boston,  _  1883; 
psalm  xxi;  the  commemoration  ode 
"  Chorus  Triumphalis,"  the  symphonic 
poem  "Altis,"  the  symphony  "The 
Awakening  of  the  Soul";  taught 
music.  University  of  Michigan;  pupil 
of  Leipsic  Conservatory.  B.  May  25, 
1851,  Manville,  R.  I.;  add.  Ann  Arbor, 
Mich. 

Stanley  (Charles  B.)  composed 
"Jephtha,"  "Zimri,"  "The  Fall  of 
Egypt,"  and  other  oratorios ;  cantatas, 
songs;  played  organ  Temple  Church, 
London,  from  1734,  became  master  of 
the  King's  music;  blind  from  infancy. 
B.  Jan.  17,  1713,  London;  d.  May  19, 
1786. 

Stansfleld  (Ely)  published  and 
partly  composed  book  of  psalm  tunes, 
London,  1731. 

Stanza.  /*.  "  Station  or  resting 
place."  Metrical  lines  of  a  verse  or 
the  subdivision  of  a  poem. 


Starck  (Ingeborg)  composed  the 
operas  "  Die  Gottin  von  Sais,"  "  Jerry 
undBately"  (Goethe's  text)  Weimar, 
Cassel;  the  four-act  "KBnig  Hiarne," 
and  the  dramatic  tone  poem  in  five 
pictures,  "  Manfred,"  Weimar,  1901 ; 
in  earlier  life  successful  concert  pian- 
ist; pupil  of  Henselt  and  Liszt.  B. 
Aug.  12,  1840,  St.  Petersburgh;  m. 
Royal  Intendant  von  Bronsart,  1860; 
add.  Hanover, 

Stark.     Ger.    Loud. 

Stark  (Ludwig)  founded  the  school 
which  became,  1865,  the  Stuttgart  Con- 
servatory; composed  educational  works 
for  piano;  pupil  of  the  Lachners  in 
Munich.  B.  June  19,  1831,  Munich; 
d.  Mar.  22,  1884,  Stuttgart. 

Star  Spangled  Banner  was  written 
during  the  bombardment  of  Baltimore 
by  the  British  forces,  Sept.  13,  1814. 
'the  author  was  Francis  Scott  Key,  a 
young  lawyer  who  was  at  the  time 
temporarily  detained  on  a  British  ves- 
sel. On  getting  ashore.  Key  completed 
his  song,  which  was  first  published  in 
the  Baltimore  "American,"  Sept.  21, 
181.4,  and  became  a  national  song. 
Key  adapted  it  to  the  air  "To  Ana- 
creon  in  Heaven,"  which  was  probably 
composed  by  John  Stafford  Smith,  to 
words  by  Ralph  Tomlinson,  president 
of  the  Anacreontic  Society,  about  1778. 

Stassov  (Vladimir  Vassilievich) 
wrote  on  music;  was  director  Fine 
Arts  department,  St.  Petersburgh  Li- 
brary; championed  New  Russian 
School ;  complete  works,  five  vols,  pub- 
lished by  admirers,  1905.  B.  Jan.  14, 
1824,  St.  Petersburgh;  d.  Oct.  23,  1906, 
St.  Petersburgh. 

Statue.  Ernest  Reyer's  three-act 
opera  comique  to  book  by  Barbier  and 
Carrg  was  first  performed  April  11, 
1861,  at  the  Paris  Op6ra  Comique,  and 
revived  in  1903  as  grand  opera  at  the 
Paris  OpSra. 

Staudigl  (Joseph)  created  the  r6le 
of  "Elijah,"  Birmingham  Festival, 
1846,  singing  the  music  at  sight  at  the 
last  rehearsal;  was  for  many  years 
principal  bass  of  the  Kamthnerthor 
Theatre,  Vienna;  in  early  life  choris- 
ter and  novice  in  the  Order  of  St.  Bene- 
dict; became  insane  1856.  B.  Wdllers- 
dorf,  Austria,  April  14,  1807;   d.  Mar. 


STAVE 


640 


STEGGAIiL 


28,  1861,  Vienna.  Joseph  sang  bar. 
in  oratorio  and  at  the  Carlsruhe  court 
opera,  where  he  was  chamber  singer  to 
the  Duke;  toured  America  with  his 
wife,  the  singer  Gisele  Kopp-Mayor; 
pupil  Vienna  Conservatory.  B.  Mar. 
18,  1850;  son  of  JOSEPH;  add. 
Carlsruhe. 

Stave  or  Staff.  Five  horizontal 
lines  used  for  the  NOTATION  of 
music. 

Stavenbagen  (Beruhard)  composed 
a  popular  minuet  and  other  piano 
pieces ;  court  pianist  and  chapelmaster 
to  the  Grand  Duke  of  Weimar;  where 
he  had  been  a  pupil  of  Liszt;  was  di- 
rector of  Munich  Royal  Academy  of 
Music,  1901-4,  then  again  settled  in 
Weimar;  B.  Greiz,  Nov.  24,  1862;  add. 
Weimar. 

Stcherbatohev  (Nicliolas  Vladi- 
mirovich)  composed  a  "  serenade " 
and  two  "  idylls  "  for  orchestra,  and 
much  piano  music;  one  of  the  New 
Russian  School;  played  piano.  B.Aug. 
24,  1853;  add.  St.  Petersburg.  An- 
drew Vladimirovioh.  composed  march 
for  orchestra,  piano  sonata;  pupil  of 
St.  Petersburg  Conservatory.  B. 
Poltava,  Jan.  29,  1869;  add.  St. 
Petersburg. 

Steffani  (Bishop  Agostino)  com- 
posed a  Stabat  Mater,  a  Confiteor  and 
other  church  music  of  the  best  qual- 
ity; more  than  a  score  of  operas; 
elected  honorary  president  for  life  of 
the  Academy  of  Ancient  Music,  Lon- 
don, 1724;  rose  from  obscurity  to  be 
ambassador  in  the  service  of  the  Elec- 
tor of  Hanover,  1698;  bishop  of  Spiga, 
1707,  and  one  of  the  foremost  com- 
posers and  theorists  of  his  time.  In 
1667  he  was  a  chorister  in  St.  Mark's, 
Venice.  There  Count  von  Tattenbaoh 
heard  him,  and  took  him  to  Munich, 
where  he  completed  his  education  and 
then  studied  for  a  time  in  Rome  at  the 
expense  of  Elector  Ferdinand  Maria. 
In  1680'  he  was  ordained  priest  and 
made  organist  and  chamber  musician 
at  the  Electoral  court,  and  under  Max- 
imilan  Emmanuel  became  director  of 
chamber  music.  In  1688,  having 
served  at  Munich  21  years,  he  was 
given  a  sum. of  money  with  which  to 
recuperate  in  Italy,  and  a  year  later 


he  entered  the  service  of  the  court  of 
Hanover  as  chapelmaster.  There  he 
became  the  intimate  of  the  philosopher 
Leibnitz,  and  opened  a  new  opera  house 
with  an  excellent  company,  having  the 
violinist  Farinelli  to  head  the  orches- 
tra, and  the  poet  Mauro  to  furnish 
him  with  libretti.  In  1696  he  entered 
the  diplomatic  service  of  Hanover 
under  ,  Elector  Ernest  Augustus,  and  ■ 
after  the  Elector's  death  was  privy 
counsellor  to  the  Elector  Palatine  and 
Apostolic  Prothonotary  for  northern 
Germany.  Except  for  a  visit  to  Italy, 
1727,  the  remainder  of  his  life  was 
spent  in  public  and  religious  duties  in 
Brunswick,  Dusseldorf,  and  Hanover. 
During  the  whole  of  this  long  and  use- 
ful life  he  was  a  prolific  composer. 
In  early  life  his  works  were  exclu- 
sively for  the  church,  but  in  1681  ap- 
peared the  opera  "  Marco  Aurelio," 
followed  by  "Solone,"  "Servio  Tullio," 
"Alarico  il  Balta,"  "Niobe,"  "Hen- 
rico Leone,"  1689,  Hanover;  "La  su- 
perbio ' d'Alessandro,"  "Orlando  Gene- 
roso,"  "  La  liberta  contento,"  "  I 
trionfo  del  Pato,"  "Briseide,"  "II 
Turno,"  "Tassilone  Tragedia,"  and 
"Arminio,"  Psalms,  motets,  and  cham- 
ber music  complete  the  list  of  his 
compositions.  His  "  Quanta  certezza 
habbia  sa  suoi  Principii  la  Musiea," 
discussing  the  natural  laws  and  theory 
of  music,  appeared  in  Amsterdam, 
1695.  B.  Castelfranco,  July  25,  1653; 
d.  Feb.  12,  1728,  Frankfort. 

Steffkius  (Theodore)  played  viol 
and  lute,  London,  17th  century. 
Dietrich  played  in  the  band  of  Charles 
II,  brother  of  THEODORE;  Treder- 
iok  played  in  royal  band,  1694, 
son  of  DIETRICH.  Christian  played 
in  royal  band,  1694,  brother  of 
FREDERICK. 

Steg.    Oer.    Bridge  of  a  violin. 

Steggall  (Dr.  Charles)  composed 
church  music;  played  organ;  taught. 
Royal  Academy  of  Music,  1851-1903; 
helped  found  Royal  College  of  Organ- 
ists; pupil  of  W.  S.  Bennet,  Royal 
Academy  of  Music;  Dr.  Mus.,  Cam- 
bridge. B.  June  3,  1826,  London;  d. 
June  7,  1905,  London.  Reginald  com- 
posed a  symphony,  mass,  evening  ser- 
vice,   an    Are    Maria,    the    scenas 


STEIBELT  641 

"Elaine"    and    "Alcestis";    taught 
organ,  Royal  Academy  of  Music;  suc- 


STEIN 


ceeded  his  father  DR.  CHARLES  as 
organist  Lincoln's  Inn  chapel,  1905. 
B.  April  17,  1867;  add.  London. 

Steibelt  (Daniel)  composed  a  set  of 
50  Etudes  for  piano,  still  of  value,  the 
piano  concerto  in  E,  No.  3  containing 
a  "  Storm  Rondo  "  which  became  even 
more  popular  than  "The  Battle  of 
Prague";  the  successful  opera  "Romeo 
et  Juliette,"  Sept.  10,  1793,  Theatre 
Feydeau,  Paris,  to  book  by  Vicomte  de 
Segur ;  was  noted  as  a  pianist, 
teacher,  and  conductor,  but  was  tricky  Berlin  ;  d, 
in  money  matters  and  somewhat  of  a  Pejtersburg. 
charlatan.  In  early  life  a  protggg  of 
the  Prussian  Crown  Prince,  he  soon 
settled  in  Paris,  where  he  encountered 
Hermann  as  a  rival,  and,  at  the  in- 
stance of  Marie  Antoinette,  composed 
one  movement  of  the  piano  sonata 
called  "  La  Coquette,"  Hermann  com- 
posing the  other.  Steibelt  was  victo- 
rious, and  he  was  forming  most  advan- 
tageous connections,  when  the  sale  of 
sonatas,  slightly  altered,  to  Boyer, 
which  that  publisher  had  already 
printed,  injured  his  chances  of  further 
progress,  and  he  removed  to  London. 
A  virtuoso  pianist,  he  there  encoun- 
tered Clementi,  Dussek,  and  Cramer, 
but  managed  to  acquire  a  strong  fol- 
lowing, and  produced  his  successful 
pasticcio  "  Albert  and  Adelaide  "  at 
Covent  Garden,  1798.  Then  he  toured 
Germany,  and  encountered  Beethoven 
in  Vienna  in  a  contest  in  which  the 
great  master  defeated  him.  He  had 
obtained  the  score  of  Haydn's  "  Crea- 
tion," however,  and  venturing  back  to 
Paris,  gave  an  enormously  successful 
and  profitable  production  at  the  Opfira, 
Dec.  25,  1800.  Two  years  later  his 
ballet  "  Le  retour  de  Zephyr  "  was  well 
received  at  the   same  house,  and   he 


1808,  he  was  again  involved  in  finan- 
cial difficulties  which  compelled  him 
to  leave  Paris.  Then  he  settled  in  St. 
Petersburg  as  court  ehapelmaster, 
conducted  and  wrote  for  the  Opera  and 
taught.  The  ballets  "  La  fete  de  I'Em- 
pereur,"  "  Der  blode  Ritter,"  and  the 
operas  "  Cendrillon,"  "  Sargines,"  and 
the  unfinished  "  Le  jugement  de 
Midas"  date  from  this  period.  Despite 
the  popularity  of  his  piano  pieces, 
he  died  in  poverty,  and  a  subscription 
was  raised  in  St.  Petersburg  for  the 
support  of  his  family.  B.  about  1749, 
~      ■■  "      Sept.     20,     1823,     St. 


Steldleder  (Hans  Ulrich.)  composed 
the  first  organ  works  to  be  engraved 
in  Germany  on  copper;  played  organ 
to  the  court  of  Stuttgart.  B.  1580;  d. 
1635. 

Stein  (Johann  Andreas)  invented 
the  German  or  Viennese  piano  action, 
about  1780,  and  made  organs  and 
harpsichords,  Augsburg,  before  that 
time.  His  pianos  may  still  be  seen  in 
Potsdam,  and  in  the  Steinert  Collec- 
tion. B.  1728,  Heidesheim;  d.  1792. 
Maria  Anna  "  Kannette  "  founded 
the  Viennese  piano  house  ITannette 
und  Andreas  Stein,  1794,  in  partner- 
ship with  her  brother  ANDREAS, 
manufacturing  instruments  along  the 
lines  established  by  their  father  JO- 
HANN  ANDREAS;  was  the  close 
friend  of  Beethoven,  and  a  shrewd  and 
cultivated  business  woman.  In  1793 
she  married  the  pianist  ANDREAS 
STREICHER,  and  on  dissolving  part- 
nership with  her  brother,  1802,  con- 
tinued in  business  as  "Nannette 
Streieher,  geborene  Stein."  B.  Augs- 
burg, Jan.  2,  1769;  d.  Jan.  10,  1838, 
Vienna.  Johann  Baptist  was  asso- 
ciated in  this  business  from  1823.  B. 
1796,  Vienna;  son  of  NANNETTE  ana 


formed  a  partnership  with  Mile.  Erard   ANDREAS  STREICHER.     Emil  sue 


in  the  publishing  business.  "  Le  juge- 
ment du  Berger  Paris,"  1804;  and  "  La 
belle  Laitiere"  were  performed  in 
London  with  great  success,  and  in 
1806  his  "La  Fgte  de  Mars,"  cele- 
brating the  victory  of  Austerlitz  was 
given  in  Paris,  followed  by  the  opera 
"La  Prineesse  de  Babylon,"  but  be- 
fore the  latter  work  was  produced, 


ceeded  to  the  business;  son-  of  JO- 
HANN BAPTIST.  Matthaus  An- 
dreas made  pianos  in  Vienna,  at  first 
in  the  factory  of  his  sister  NAN- 
NETTE, starting  for  himself,  1802. 
B.  Deo.  12,  1776,  Augsburg;  d.  May  6, 
1842,  Vienna.  Friedricli  composed 
the  operetta  "  Die  Fee  Radiante," 
songs,  chamber  music;  played  piano; 
41 


STEINBACH 


643 


STEBN 


admired  for  Beethoven  interpretations. 
B.  May  26,  1784,  Augsburg;  d.  Vienna, 
Karl  Andreas  succeeded  to  the  piano 
business  of  his  father,  MATTHAUS 
ANDREAS,  and  in  1844  was  made 
court  piano  maker;  composed;  wrote 
on  the  piano.  B.  Sept.  4, 1797,  Vienna; 
d.  Aug.  28,  1863,  Vienna. 

Steinbach.  (Emil)  composed  songs, 
chamber  music,  and  for  orchestra; 
conductor  at  Mayence;  pupil  Leipsic 
Conservatory.  B.  Baden,  Nov.  14, 
1849;  add.  Mayence.  Fritz  composed 
a  'cello  sonata,  a  septet.  Op.  7 ;  general 
music  director  to  Grand  Ehike  oi  Mein- 
ingen;  pupil  of  Leipsic  Conservatory, 
and  later  assistant  to  his  brother 
EMIL  at  Mayence.  B.  Baden,  June 
17,  1855;   add.  Meiningen. 

Steinway  or  Steinweg  (Henry 
Engelhard)  opened  a  piano  factory 
in  Seesen,  1839,  which  was  destroyed 
in  the  revolution  of  1848.  The  fol- 
lowing year  he  emigrated  to  New 
York  with  his  sons  Charles,  William, 
and  Henry,  and  worked  in  various 
piano  factories  until  1853,  when  they 
organized  the  firm  of  Steinway  & 
Sous.  Two  years  later  the  house  put 
on  the  market  the  first  frame  of  a 
single  iron  casting  and  with  over- 
strung scale,  which  was  shown  in  1862 
at  the  London  Exhibition  and  received 
a  high  award.  Charles  and  Henry 
Steinway  died  in  1865,  and  then  THE- 
ODORE, the  eldest  son,  who  had  re- 
mained in  business  in  Brunswick  on 
his  own  account,  settled  in  New  York 
as  a  member  of  the  firm.  In  1856  the 
house  built  its  first  grand  piano,  and 
in  1862  its  first  upright.  The  elder 
Steinway  during  all  these  years  had 
been  in  active  control  of  the  business. 
B.  Feb.  15,  1797,  Wolfshagen,  Bruns- 
wick; d.  1871,  New  York.  William 
became  president  of  the  incorporated 
company,  1876,  when  the  capital  was 
fixed  at  $1,500,000,  and  continued  to 
be  the  head  of  the  house  until  his 
death.  B.  Seesen,  Mar.  5,  1835;  d. 
Nov.  30,  1896.  Theodore  had  been  the 
mechanical  genius  of  the  house.  B. 
Nov.  6,  1825,  Seesen;  d.  Brunswick, 
Mar.  6,  1889.  In  1908  the  president  of 
the  corporation,  capitalized  at  $2,000,- 
000  since  1891,  was  Charles  H.,  while 


the  board  of  directors  included  several 
members  of  the  family.  B.  June  3, 
1857,  son  of  HENRY;  add.  New  York. 
Frederick  T.  was  vice-president  of 
the  company,  1908.  B.  Feb.  9,  1860; 
son  of  HENRY;    add.  New  York. 

Steinweg  was  the  original  spell- 
ing of  the  name  STEINWAY,  and  was 
borne  by  the  Brunswick  house  which, 
1865,  bought  out  the  business  of  THEO- 
DORE STEINWAY  or  STEINWEG. 
The  members  of  the  firm  were  Grotian, 
Helferrich,  and  Schulz. 

Stem.  Tail  attached  to  all  notes 
other  than  semibreves  in  modern  NO- 
TATION. 

Stendando.    It.    Retarding. 

Stentato.    It.    Emphasized. 

Stephens  (Catherine)  sang  sop.  in 
English  operas  and  concerts;  debut 
1812,  London.  B.  Sept.  18,  1794,  Lon- 
don; m.  the  Earl  of  Essex,  1838;  d. 
Feb.  22,  1882.  Charles  Edward  com- 
posed symphony  in  G  minor,  songs,  an- 
thems, organ  and  piano  pieces ;  played 
organ,  London  churches;  pupil  of  Cip- 
riani Potter.  B.  Mar.  18,  1821 ;  nephew 
of  CATHERINE;  d.  Jvilf  13,  1892, 
London. 

Stephens  (Dr.  3'ohn)  played  organ 
Salisbury  Cathedral;  composed  vol- 
ume of  cathedral  music;  conducted. 
D.  Dec.  15,  1780. 

Sterling  (Antoinette)  sang  con.  in 
oratorio  and  concert,  range  of  e  flat  to 
f",  toured  with  Theodore  Thomas; 
settled  in  London,  1873;  pupil  of 
Manuel  Garcia,  and  in  early  life,  so- 
loist, Plymouth  Church,  Brooklyn, 
N.  Y.  B.  1850,  Sterlingville,  N.  Y.; 
m.  John  MacKinlay,  1875;  d.  Jan.  9, 
1904,  Hampstead,  Eng.  See  memoir 
by  her  son  Sterling  MacKinlay,  1906. 

Stem  (Julius)  founded  an  excel- 
lent school  in  BERLIN,  1850,  with 
Kullak  and  Marx;  conducted  his  own 
singing  society  in  Berlin,  1847  to  1874; 
composed;  was  an  admirable  teacher, 
and  in  early  life  conductor  of  a  German 
Gesangverein  in  Paris;  pupil  Sing- 
akademie  and  Royal  Academy  of  Arte, 
Berlin.  B.  Aug.  2,  1820,  Breslau;  d. 
Feb.  27,  1883. 

Stern  (Leopold  Ziawrence)  played 
'cello,  touring  Europe  with  success, 
and  America,  1897-98;  pupil  of  Piatti, 


SDEKITBEIta 


643 


STOBAETTS 


Klengel,  Davidofl,  Leipaic;  Royal 
Academy  of  Music,  London.  B.  April 
5,  1862,  Brighton,  Eng. ;  m.  the  singer 
Suzanne  Adams;  d.  Sept.  10,  1904, 
London. 

Sternberg,  von  (Edler  Constantin 
lyanovich)  composed  more  than  200 
•piario  works,  chamber  music,  songs; 
wrote  essays  on  music  and  sociology; 
founded  the  Sternberg  School  of  Music, 
Philadelphia,  and  in  1908  was  presi- 
dent of  this  corporation  and  its  branch 
schools;  pupil  of  Moscheles,  Kullah, 
Eeinecke,  and  Liszt;  Mus.  and  Lit. 
Dr.;  president  International  Society 
of  Music  Teachers;  toured  as  virtuoso 
pianist  from  1877.  B.  July  9,  1852, 
St.  Petersburg;   add.  Philadelphia,  Pa. 

Steso.    It.    Spread,  scattered. 

Stesso.    /*.    "  The  same." 

Stevens  (Bichard  Jolin  Samuel) 
composed  three  harpsichord  sonatas, 
three  sets  of  glees;  played  organ 
Temple  Church,  London;  Gresham 
professor  of  music;  chorister  in  boy- 
hood, St.  Paul's  Cathedral;  B.  Mar. 
27,  1757,  London;  d.  Sept.  23,  1837. 

Stevenson  (Dr.  Sir  John  Andrew) 
composed  the  introductions  and  accom- 
paniments to  Moore's  "  Irish  Melo- 
dies," songs,  an  oratorio ;  organist  and 
director  of  music  to  the  Viceregal 
court  at  Dublin,  where  he  was 
knighted,  1803 ;  in  early  life  chorister 
at  Christ  Church,  where  he  afterwards 
was  vicar  choral.  B.  1762,  Dublin;  d. 
Sept.  14,  1833. 

Stewart  (Neil)  published  music  in 
Edinburgh,  1759  to  1805. 

Stewart  (Dr.  Sir  Robert  Presoott) 
composed  odes,  a  fantasia  on  Irish  airs 
for  the  Boston  Peace  Festival,  1872; 
played  organ,  Trinity  College,  Dublin; 
was  vicar  choral,  St.  Patrick's,  where 
he  had  been  a  chorister  in  boyhood; 
conductor  and  professor,  Dublin  Uni- 
versity, Royal  Irish  Academy  of  Mu- 
sic. B.  Dec.  16,  1825,  Dublin;  d. 
Mar.  24,  1894,  Dublin. 

Stbenochire.  Machine  that  imparts 
force  and  flexibility  to  the  fingers. 

Stiastny  (Bernard  Wenzel)  played 
'cello  Prague  orchestra;  taught;  wrote 
a  method  dedicated  to  Seeger.  B.  1770, 
Prague.  Johann  composed  13  works 
for  'cello;    played  'cello;    vras  music 


director  at  Frankfort,  Nuremberg,  and 
Mannheim;  probably  pupil  of  his 
brother  Bi^NARD  WENZEL.  B. 
Prague,  1774. 

Sticcado,  Sticcato.    XYLOPHONE. 

Stich  (Jobann  Wenzel  "  Punto  ") 
composed,  played  horn;  friend  of  Mo- 
zart and  Beethoven,  who  composed  for 
him.  B.  Bohemia,  1755;  d.  Feb.  16, 
1803,  Prague. 

Stiefel.  Oer.  BOOT  of  an  organ 
reed-pipe. 

Stiebl  (Heinricb)  composed  the 
operas  "  Der  Schatzgraber,"  "  Jery 
und  Bately,"  chamber  music;  played 
piano  and  organ,  conducted;  settled  in 
Reval  as  a  teacher ;  pupil  of  Moscheles, 
Gade,  and  Hauptmann.  B.  Aug.  5, 
1829,  Lubeck;  d.  May  1,  1886,  Reval, 
Russia. 

Stift.  Qer.  Jack  of  a  harpsichord 
or  spinet. 

Stil.     Ger.    Style. 

Stile.  It.    Style. 

Stillgedackt.  Qer.  Soft  toned  or- 
gan stop. 

Stilus.     L.    Style. 

Stimme.  Oer.  Voice;  organ  stop 
or  rank  of  pipes;  a  part  in  instru- 
mental or  vocal  music. 

Stimmfeife.    Ger.    Pitch-pipe. 

Stimmgabel.     Oer.     Tuning-fork. 

Stimmbolzcben.  Oer.  SOUND 
POST. 

Stimmhorn.     Oer.    Pitch  pipe. 

Stimmscbliissel,  Stimmbammer. 
Oer.  Tuning  key,  a  hammer-shaped 
instrument. 

Stimmstock.    Ger.   SOUND  POST. 

Stimpson  (James)  founded  con- 
certs at  Birmingham,  1844,  and  con- 
ducted them  until  1867;  was  perma- 
nent organist  Birmingham  festivals; 
taught  and  edited  music.  B.  Feb.  29, 
1820,  Lincoln;  d.  Oct.  4,  1886, 
Birmingham. 

Stinguendo.    It.    Fading  away. 

Stiraccbiato,  Stirato.  It.  Widen- 
ing. 

Stirling  (Elizabeth)  composed 
"All  among  the  barley"  and  other 
popular  songs;  played  organ  London 
churches;  pupil  G.  A.  Macfarren.  B. 
Feb.  26,  1819,  Greenwich;  d.  Mar.  25, 
1895,  London. 

StobaeuB  (Jobann)  composed  cho- 


STOCK 


644 


STBADEIiLA 


rales  and  other  sacred  and  secular 
works;  sang  bass;  was  chapelmaster 
to  Elector  of  Brandenburg;  pupil  of 
Eecard.  B.  Graudenz,  July  6,  1580;  d. 
Sept.  11,  1646,  KSnigsberg. 

Stock  (Frederick  A.)  became  con- 
ductor of  the  CHICAGO  ORCHES- 
TRA on  the  death  of  Theodore  Thomas 
whose  assistant  he  had  been,  having 
graduated  from  the  ranks  of  the  viola 
players;  composed  songs,  orchestral 
variations,  and  chamber  music.  B. 
Julieh,  Ger.,  1872;    add.  Chicago. 

Stock  Exchange  Orchiestral  and 
Choral  Society  gave  subscription  con- 
certs in  London  from  1683,  at  which 
the  works  of  native  composers  were  fa- 
voured. The  first  conductor  was  George 
Kitchin,  an  amateur.  In  1897  Arthur 
W.  Payne  became  conductor  of  the 
orchestra,  and  from  1898  the  choir  was 
conducted  by  Munro  Davison. 

Stockfagott.     RACKETT. 

Stockhausen  (Hargarete 
Schmuck)  sang  sop.  in  concerts  and 
oratorios;  pupil  of  Cartruflfo,  Paris. 
B.  1803,  Gebweiler;  m.  Franz;  d.  Oct. 
6,  1877.  Franz  composed;  played 
harp.  B.  1792 ;  d.  1868.  Julius  sang 
bar.  in  opera  and  concerts,  much  ad- 
mired for  interpretations  of  Bach, 
Schubert,  and  Schumann;  directed 
Hamburg  Philharmonic  concerts  and 
Singakademie  and  was  court  singer; 
founded  the  Stemsches  Gesangverein, 
Berlin,  1874;  taught  Dresden  Hoch 
Conservatory;  wrote  a  method,  Eng. 
trans.,  1907;  pupil  of  his  mother, 
MARGARETE  SCHMUCK  and  of 
Garcia.  B.  July  22,  1826,  Paris;  d. 
Sept.  22,  1906. 

Stodart  (Bobert)  aided  Backers  in 
the  invention  of  the  "  English  "  action 
for  pianos,  and  opened  a  piano  factory 
in  London,  1776.  The  house  became 
extinct,  1861. 

Stokes  (Charles)  composed  "  Select 
Organ  Pieces  " ;  played  organ ;  in  boy- 
hood chorister  at  St.  Paul's,  London. 
B.  1784;   d.  April  14,  1839,  London. 

Stoltz  (Bosine)  sang  mez.  sop.,  cre- 
ating such  r51es  as  "Agathe,"  "Des- 
demona,"  composed  six  songs,  1870; 
known  also  as  Victorine  Noeb  and  Rose 
Niva;_  made  the  notable  record  of 
marrying  in  succession  one  baron  and 


two  princes.  B.  Feb.  13,  1815;  retired 
after  1850. 

Stoltzer  (Thomas)  composed 
hymns,  psalms,  motets;  was  chapel- 
master to  Louis,  King  of  Hungary  and 
Bohemia;  publications  dated  chiefly 
between  1536  and  1544. 

Stonante.     It.    Untuneful. 

Stonard  (William)  composed  an- 
thems; played  organ  Oxford  Cathe- 
dral.   D.  1630. 

Stop.  Pressure  upon  the  strings  of 
an  instrument  by  the  fingers,  or  a  fret 
on  a  guitar  or  similar  instrument; 
set  of  pipes  in  an  organ  of  uniform 
quality. 

Stopped  Diapason.  Foundation 
organ  stop  of  closed  pipes. 

Stopper.  Plug  in  the  top  of  an 
organ  pipe  to  close  it. 

Stopples.  Plugs  used  in  some  of 
the  flute  ventages  acommodating  its 
scale  to  some  particular  mode. 

Storace  (Anna  Selina)  created  Su- 
sanna in  Mozart's  "  Nozze  di  Figaro," 
while  at  the  Imperial  Theatre,  Vienna, 
and  from  1781,  when  she  appeared  at 
Parma,  until  1808,  when  she  sang  for 
the  last  time  at  Covent  Garden,  com- 
manded exceptionally  high  salaries; 
pupil  of  her  father,  Stefano,  a  double- 
bass  player,  and  later  of  Sacchini  at 
the  Venice  Conservatory;  debut  in 
London  at  eight.  B.  1766,  London; 
m.  John  FISHER;  d.  Aug.  24,  1817, 
Dulwich.  Stephen  composed  roman- 
tic works,  including  the  operetta 
"  Song  or  no  Supper  " ;  played  violin, 
debut  at  12;  pupil  Conservatorio  di  S. 
Onofrio,  Naples.  B.  Jan.  4,  1763,  Lon- 
don; brother  of  ANNA  SELINA;  d. 
Mar.  19,  1796. 

Storto,  Storta.  It.  Horn  and 
SERPENT,  were  so-called  because  of 
their  twisted  shapes. 

Strada  del  Po  (Anna)  sang  sop.  in 
London  operas  under  Handel,  1729  to 
1738. 

Stradella  (Alessandro)  composed 
148  works  preserved  at  Modena,  among 
which  are  six  operas,  including  "  II 
Trespolo,"  produced  at  Bologna, 
1679,  eight  oratorios,  many  songs  and 
cantatas ;  was  accredited  with  the  com- 
position of  "  Pieta,  Signore,"  which 
may  have  been  Rossini's.    The  roman- 


STBADELIiA 


645 


STBASCICATO 


tic  tales  which  have  grown  up  around 
Stradella,  based  on  Bonnet-Bourdelot's 
tale,  are  reproduced  in  the  Flotow 
opera,  but  are  no  longer  believed.  B. 
Venice,  Naples,  or  Rome,  about  1645; 
d.  about  1670  or  167S  or  1681. 

Stradella.  Friedrich  von  Flotow's 
three-act  romantic  opera  was  first  per- 
formed February,  1837,  at  the  Palais 
Royal  Theatre,  Paris,  and  expanded  to 
grand  opera,  at  Hamburg,  Dec.  30, 
1844.  The  English  version  to  Bunn's 
book  was  first  performed  June  8,  1846, 
at  Drury  Lane,  London.  Stradella 
wins  the  love  of  Leonora,  prot€g6  of  a 
rich  Venetian  nobleman,  Bassi,  elopes 
with  him  to  Rome,  where  they  are 
married.  Barbarino  and  Malvolio,  in 
the  hire  of  Bassi,  plan  to  assassinate 
Stradella,  but  are  so  moved  when  they 
hear  him  sing  that  they  falter  in  their 
purpose.  Bassi  urges  them  by  the 
oflFer  of  more  money  to  murder  the 
musician,  and  the  bravoes  agree.  But 
when  they  hear  Stradella  sing  a  hymn 
to  the  Virgin  they  throw  themselves  at 
his  feet,  confess  their  mission,  and 
warn  him  against  Bassi.  Leonora 
enters,  finds  Bassi  and  the  bravoes  con- 
verted from  their  purpose,  and  the 
opera  ends  with  a  happy  reconcilia- 
tion, although,  according  to  Bonnet- 
Bourdelot,  Bassi  had  both  lovers  mur- 
dered at  Genoa. 

Stradivarius  (Antonius)  perfected 
the  form  of  the  violin,  having  learned 
the  art  of  violin  making  from  KICOLO 
AMATI,  and  made  instruments  from 
1666  to  1737  which  have  never  been 
surpassed.  540  violins,  12  violas,  and 
50  'cellos  were  extant  in  1908,  the  best 
valued  at  $10,000  or  more,  while  a, 
hundred  more  may  still  be  authenti- 
cated. The  earliest  label  on  a  genuine 
Strad.  is  said  to  be  "  Antonius  Stradi- 
uarius  Cremonensis  Alumnus  Nicolai 
Amati,  Faciebat  Anno  1666,"  with  a 
Maltese  cross  and  the  letters  A.  S.  in 
a  double  circle.  In  1667  he  married 
Francesca  Feraboschi,  vridow  of  G.  G. 
Capra,  and  in  1680  bought  the  house, 
No.  1  Piazza  Roma,  (where  his  best 
work  was  done ) ,  for  about  $4200.  This 
remained  in  possession  of  his  family 
for  100  years,  and  was  marked  by  an 
inscription  set  up  by  the  municipality 


of  Cremona.  It  is  assumed  that  he 
worked  for  Amati,  seven  or  eight  years 
prior  to  1666,  but  aside  from  the  regis- 
ter showing  the  births  and  deaths  of 
his  children,  and  his  second  marriage, 
1699,  to  Antonia  M.  Zambelli,  the  only 
certain  records  of  his  life  are  the  labels 
in  his  instruments.  B.  about  1644; 
d.  Dec.  17,  1737,  Cremona.  See  "  An- 
tonio Stradivari,  his  Life  and  Work," 
W.  H.,  A.  F.  and  A.  Hill,  London, 
1902.  Francesco  and  Omobono  were 
the  only  sons  of  ANTONIUS  to  follow 
the  violin-making  craft,  and  both  were 
sons  of  the  first  wife.  Francesco  was 
b.  Feb.  1,  1671,  Cremona;  d.  May  11, 
1743.  Omobono,  b.  Nov.  14,  1679, 
Cremona;  d.  June  8,  1742. 

Strain.  Theme  which  forms  a  part 
and  is  related  to  the  whole  compo- 
sition. Formerly  each  portion  of  a 
composition,  either  rhythmical  pauses 
or  completed  sentences,  were  divided 
by  the  double  bar,  and  consequently 
the  double  bar  marked  the  strain. 
This  custom  is  still  followed  in  writing 
chants  and  hymn  tunes  where  the 
strain  is  still  marked  by  the  double 
bar.  _ 

Strakosch  (IiCaurice)  managed  the 
Apollo  Theatre,  Rome,  with  his  brother 
MAX;  was  European  agent  for  his 
sister-in-law,  Adele  PATTI;  managed 
artists  and  troupes  successfully  in 
Europe  and  America,  and  the  Salle 
Ventadour,  Paris,  1873-74.  B.  1825, 
Lemberg,  Moravia;  m.  Carlotta 
PATTI;  d.  Oct.  9,  1887.  See  his  "  Me- 
moires."  Max  was  closely  associ- 
ated in  business  with  his  brother 
MAURICE,  and  usually  acted  as  his 
American  representative.  D.  Mar.  17, 
1892.  Maurice  was  manager  of  the 
Baltimore  Music  Hall,  forming  an  ei- 
cellent  English  Opera  company,  and  on 
its  financial  failure  allied  himself  with 
the  Metropolitan  management  in  New 
York,  afterwards  going  into  the  real 
estate- business  in  California.  Son  of 
MAX. 

Stranieri.  Vincenzo  Bellini's  two- 
act  opera,  to  book  by  Romani,  was  first 
performed  Feb.  14,  1829,  at  La  Scala, 
Milan. 

Strascicando.    It.    Dragging. 

Strascicato.    It.    Dragged. 


STRASCINANDO 


646 


STBATTSS 


Strascinando.  It.  STRASCI- 
CANDO. 

Strascinando  I'arco.  It.  Drag- 
ging the  bow  over  the  strings;  binding 
the  notes  together. 

StrasciiLO.  It.  Crag;  slurring 
movement  and  slightly  diminishing 
the  pace. 

Strathspey.  Scotch  dance  in  duple 
time  first  danced  a,bout  the  beginning 
of  the  eighteenth  century  in  Strath- 
spey. The  "  SCOTCH  SNAP  "  marks 
the  peculiar  time  for  this  dance. 

Straus  (Ludwig)  played  violin  and 
viola;  eoncertmeister,  Frankfort 
Theatre,  1860,  the  Museum  concerts, 
and  from  1864  to  1888  of  Halle's  or- 
chestra, Manchester;  solo  violinist  to 
Queen  Victoria,  and  in  earlier  life 
successful  in  virtuoso  tours;  played 
quartet  three  years  with  Mayseder; 
pupil  Vienna  Conservatory.  B.  Mar. 
28,  1835,  Presburg;  d.  Oct.  23,  1899, 
Cambridge,  Eng. 

Strauss  (Johann)  was  the  most 
notable  composer  and  conductor  of 
dance  music  of  his  generation,  the 
father  of  "  The  Waltz  King,"  and  two 
qther  sons  whose  dance  music  has  en- 
livened the  whole  world.  His  parents, 
who  were  innkeepers,  with  a  laudable 
desire  of  advancing  their  son  in  life, 
had  him  apprenticed  to  a  bookbinder. 
He  had  already  learned  to  play  violin, 
and  soon  ran  away  from  the  shop, 
but  was  found  by  a  friend  of  the 
family,  who  obtained  lessons  for  him 
from  Polyschansky,  on  the  violin,  and 
Seyfried,  theory.  His  first  engage- 
ment was  with  LANNEE,  for  whom  he 
was  assistant  conductor  until  1825, 
then  beginning  his  own  concerts  in  a 
suburban  beer  garden,  the  "  Schwann," 
and  thereafter  at  the  "  Sperl,"  where 
he  continued  six  years.  Appointed 
chapelmaster  of  the  Burger  regiment, 
it  became  his  duty  to  play  at  certain 
of  the  court  balls,  and  his  orchestra, 
now  increased  to  200,  and  his  compo- 
sitions, of  which  the  "  Tauberln,"  Op.l, 
and  "  Kettenbrucke,"  Op.  19,  were  the 
most  famous,  awakened  an  interest  by 
no  means  confined  to  the  Austrian 
capital.  From  1833  he  began  a  series 
of  tours  which  gradually  extended 
throughout  Europe,  and  in  the  year  of 


Queen  Victoria's  coronation,  1838,  he 
gave  72  concerts  and  played  at  the 
most  important  balls  in  London.  In 
1844  he  was  specially  honoured  by  the 
future  Emperor  Wilhelm  I,  who  gave  a 
military  concert  in  his  honour,  and  on 
his  return  to  Vienna  he  was  appointed 
conductor  of  the  court  balls.  In  1840 
he  introduced  the  polka  to  Vienna,  and 
thereafter  ceased  to  compose  waltzes, 
confining  himself  to  polkas,  gallops, 
and  marches,  of  which  he  produced  60, 
and  quadrilles,  of  which  he  composed 
34.  Breitkopf  &  Hartel  published  his 
complete  works,  including  246  pieces 
of  dance  music,  and,  in  all,  150  waltzes, 
among  which  were:  Taglioni-Walzer, 
Londoner  Saison-Walzer,  Die  Berg- 
geister  Walzer,  Eosenblatter-Walzer, 
Wiener  Gemiiths- Walzer,  My r then 
Walzer,  Tanz-Recepte  Walzer,  Ca- 
cilien- Walzer,  mit  dem  beliebten  Trem- 
olo; Dritte  Walzer-Guirlande ;  Palm- 
Zweige  Walzer;  Amors-Pfeile  Walzer; 
Elektrische  Funken  Walzer;  Deutsche 
Lust,  Oder  Donau-Lieder  ohne  Text, 
Walzer ;  Apollo- Walzer,  Adelaiden- 
Walzer,  Die  Wettrenner  Walter;  Die 
Debutanten  Walzer ;  Egerien-Tanze ; 
Die  Tanzmeister  Walzer;  Stadt-  und 
Landleben  Walzer;  Die  Phantasten 
Walzer ;  Musik- Verein-Tanze,  Dob- 
linger  Reunion-Walzer,  Wiener  Car- 
neval-Walzer,  Erste  Kettenbrucke- 
Walzer,  Gesellschafts-Walzer,  Wiener 
Launen- Walzer,  Walzer  (ft  la  Paga- 
nini),  Krapfen-Wald'l- Walzer,  Trom- 
peten-Walzer,  Champagner-Walzer, 
Erinnerungs-Walzer,  Fort  nach  ein- 
ander! -Walzer;  Lustlager-Walzer. 
B.  Mar.  4,  1804,  Vienna;  d.  Sept.  25, 
1849,  Vienna.  Johann  deserved  his 
title  of  the  "  Waltz  King  "  by  compos- 
ing nearly  400  waltzes,  of  which  the 
most  famous  were  "  An  der  schonen 
blauen  Donau"  ("The  Blue  Danube"), 
Op.  314,  "Man  lebt  nur  einmal," 
"Wiener  Blut,"  " Kunsterleben,"  and 
"Tausend  und  eine  Nacht."  Besides 
his  waltzes  he  composed  a  notable 
series  of  comic  operas,  including  "  Die 
Fledermaus,"  "Der  ZIGEUNER- 
BARON,"  the  ballet  "  Aschenbrodel," 
and  "  Traumbilder "  for  orchestra. 
In  accordance  with  his  father's  wishes, 
he  had  been  educated  for  a  commer- 


STKAUSS 


647 


STBAirSS 


cial  _  career,  but  his  mother,  bom 
Streim,  an  innkeeper's  daughter,  se- 
cretly caused'  him  to  be  trained  in  mu- 
sic, and  he  had  composed  the  "  Erster 
Gredanke"  waltz  at  six.  At  19  he  could 
resist  his  passion  for  music  no  longer, 
and  made  his  debut  as  conductor,  pro- 
ducing waltzes  of  his  own  and  his 
father's.  On  the  death  of  his  father 
he  combined  the  two  orchestras,  and 
made  a  series  of  tours,  was  made  court 
conductor  of  balls  at  Vienna,  1863, 
and  produced  his  first  operetta,  "  In- 
digo und  die  vierzig  Rauber,"  1871, 
Theater  an  der  Wien.  Other  fiperettas 
to  be  noted :  "  Der  Karneval  in  Rom," 
"  Caglioatro,"  "  Prinz  Methusalem," 
"  Blindekuh,"  "  Das  Spitzentuch  der 
Koningin,"  "Die  lustige  Krieg,^'  "Eine 
Nacht  in  Venedig,"  "  Simplicius," 
"  Ritter  Pasman,"  "  Furstin  Ninetta," 
"  Jabuka,"  "  Waldmeister,"  "  Die  GSt- 
tin  von  Vernunft."  B.  Oct.  25,  1825, 
Vienna;  son  of  JOHANN;  m.  the 
singer  "  Jetty  "  TrefFz,  1862,  and  after 
her  death  the  singer  Angelica  Diet- 
rich, 1878;  d.  June  3,  1899,  Vienna. 
Joseph  composed  283  popular  waltzes; 
conducted  his  own  band,  but  was  of 
feeble  constitution,  and  being  mal- 
treated by  Russian  officers  in  Warsaw 
for  whom  he  had  refused  to  play,  was 
fatally  injured.  B.  Vienna,  Aug.  22, 
1827;  brother  of  the  Waltz  King;  d. 
July  22,  1870,  Warsaw.  Eduard  com- 
posed more  than  200  pieces  of  dance 
music;  became  conductor  of  court 
balls  in  St.  Petersburg,  1870;  toured 
Europe  repeatedly  at  the  head  of  his 
own  orchestra;  visiting  America, 
1901-2,  for  which  occasion  he  bor- 
rowed his  brother's  title  of  "Waltz 
King";  played  in  Vienna  at  the  Volks- 
earden  during  the  summer,  and  in  tte 
winter  in  the  hall  of  the  Gesellschaft 
der  Musikfreunde.  B.  Feb.  14,  1835; 
add.  Vienna. 

Strauss  (Richard)  composed  a 
series  of  symphonic  poems  notable  for 
bizarre  construction  and  eccentricity, 
of  subject  and  orchestration,  songs, 
many  of  which  were  admirable;  the 
opera  SALOME,  which  placed  him  at 
the  head  of  the  Decadent  school  of  mu- 
sicians; became  one  of  the  best  of  re- 
cent conductors;  was  a  man  of  wide 


reading  and  culture  and  possessed  a 
degree  of  skill  in  advertising  surpass- 
ing that  of  the  whole  Wagner  family. 
Son  of  Franz  Strauss,  first  horn  player 
in  the  royal  orchestra  at  Munich,  he 
is  said  to  have  composed  a  polka,  and 
to  have  played  the  piano  at  four. 
Pupil  of  his  father,  and  of  F.  W. 
Meyer,  several  of  his  choral  works  were 
sung  while  he  was  a  student  in  the 
Gymnasium,  and  before  he  was  17, 
three  of  his  songs  and  his  string  quar- 
tet in  A  had  been  performed  in  public. 
In  1884,  a  year  after  he  completed  hia 
university  course,  Theodore  Thomas 
performed  his  symphony  in  F  minor. 
Op.  12,  in  New  York,  and  thereafter 
his  works  were  known  in  the  United 
States  as  quickly  as  in  Europe.  In 
1885  he  was  made  chapelmaster  at 
Meiningen  in  succession  to  von  Billow, 
who  had  produced  his  suite  for  13 
wind  instruments  there  with  great 
success.  He  soon  resigned  this  post 
to  travel,  and  in  the  fall  was  made 
assistant  conductor  at  Munich  under 
Levi,  and  four  years  later  became 
assistant  to  Lassen  at  Weimar.  In 
1892  he  visited  Greece  and  Egypt  to 
recover  his  health,  which  had  been 
impaired  by  overwork,  bringing  back 
"  Guntram,"  his  first  opera,  which  was 
produced  at  Weimar,  May_  12,  1894, 
and  the  following  year  married  Pauline 
de  Ahna,  a  beautiful  young  singer  who 
had  created  "  Freihilde,"  the  principal 
r8le  in  his  opera,  and  thereafter  proved 
the  best  interpreter  of  his  songs.  His 
"  Feuersnot "  was  produced  with  suc- 
cess  at  Dresden,  Nov.,  1901.  His  re- 
markable skill  as  a  conductor  made 
him  a  welcome  visitor  ill  all  music 
centres.  He  was  appointed  court 
chapelmaster  in  Munich  and  in  Ber- 
lin, and  often  conducted  the  first  per- 
formances of  his  own  works  in  other  • 
cities,  notably  of  his  "Sinfonia  Do- 
mestica,"  while  in  New  York,  1905-6, 
and  "Salome"  in  Paris,  1908,  and 
still  earlier  the  "  Aus  Italien "  sym- 
phonic fantasia  (in  which  he  incorpo- 
rated a  song  by  Denza,  mistaking  it 
for  a  folk  song)  in  London.  During  his 
American  tour,  when  he  was  accom- 
panied by  Mme.  Strauss  de  Ahna  as 
soloist,  he  conducted  a  large  orchestra 


STRAUSS  e4» 

nder  the  best  auspices  in  the  prin- 
ipal  cities,  but  signalized  his  depar- 
iire  by  giving  concerts  in  a  big  New 
'ork  shop  for  a  handsome  fee.  In 
'aria,  where  the  production  of  "  Sa- 
3me  "  was  said  to  have  been  a  poor 
ne,  he  was  soon  on  the  best  terms  with 
lie  officials,  and  on  his  departure  re- 
sived  the  cross  of  the  Legion  of  Honor, 
lost  of  his  symphonic  poems,  such  as 
Also  Sprach  Zarathustra "  ( after 
Nietzsche"),  the  grotesque  orches- 
ral  rondo  "  Till  Eulenspiegel's  lustige 
treiche "  and  "  Ein  Heldenleben," 
re  accompanied  by  elaborate  "  pro- 
rammatical  notes."  In  the  exquisite 
iano  accompaniment  of  "  Enoch  Ar- 
en"  the  music  is  skilfully  subdued 
B  as  not  to  strain  the  voice  of  the 
eader,  while  in  "  Don  Quixote "  he 
jund  it  necessary  to  invent  an  espe- 
ial  mechanism  'for  the  wind  effect, 
'erfectly  familiar  with  classic  form, 
e  seemed  always  striving  for  new  and 
tartling  effects,  and  although  capable 
f  writing  melody,  carried  his  ideas  of 
salism  to  such  extremes  that  only  the 
evoted  few  who  proved  their  superior 
itelligence  by  being  always  able  to 
nderstand  him  were  able  to  under- 
tand  him  at  all.  The  full  list  of  his 
'orks  includes:  Festival  March  for 
rchestra.  Op.  1 ;  String  quartet  in  A, 
p.  2;  five  pieces  for  solo  piano.  Op. 
;  piano  sonata  in  B  minor.  Op.  5; 
mata  for  piano  and  'cello,  Op.  6 ;  Ser- 
aade  for  wind  instruments,  Op.  7; 
iolin  concerto.  Op.  8;  Stimmungsbil- 
sr  for  piano.  Op.  9 ;  eight  songs.  Op. 
B;  concerto  for  French  horn,  Op.  11; 
rmphony  in  F  minor.  Op.  12 ;  quartet 
)r  piano  and  strings.  Op.  13;  Wan- 
erers'  Sturmlied,  6-part  choir  with 
rchestra.  Op.  14;  five  songs.  Op.  15; 
^^mphonie  fantasia  "Aus  Italien," 
p.  16;  six  songs.  Op.  17;  sonata  for 
lolm  and  piano,  E  flat.  Op.  18; 
Lotosblatter "  songs.  Op.  19;  the 
ine  poem  for  orchestra,  Don  Juan,  Op. 
);  "Schilchte  Weisen "  songs.  Op. 
I;  "  Madchenblmnen  "  songs,  Op.  22; 
me  poem  for  orchestra  "Macbeth," 
p.  23;  the  tone  poem  for  orchestra. 
Tod  uad  Verklarung,"  Op.  24;  the 
iree-act  opera  "Guntram,"  Op.  25- 
TO  songs.  Op.  26;  four  songs.  Op.  27; 


STB.EICHZITHEB, 

the  tone  poem  for  orchestra  "  Till 
Eulenspiegel,"  Op.  28;  three  songs, 
Op.  29;  the  tone  poem  for  orchestra 
"Also  Sprach  Zarathustra,"  Op.  30; 
four  songs.  Op.  31;  five  songs.  Op.  32; 
four  songs  with  orchestra,  Op.  33 ;  two 
1 6-part  anthems.  Op.  34;  the  fantastic 
variations  for  orchestra  "Don 
Quixote,"  Op.  35;  four  songs,  Op.  36; 
six  songs.  Op.  37 ;  "  Enoch  Arden  " 
(piano  music  to  accompany  recitation 
of  the  poem).  Op.  38;  five  songs.  Op. 
39 ;  the  tone  poem  for  orchestra  "  Ein 
Heldenleben,"  Op.  40;  five  songs.  Op. 
41;  two'  choruses  for  men.  Op.  42; 
three  songs.  Op.  43 ;  two  "  Grossere 
Gesange  "  for  deep  voices  with  orches- 
tra. Op.  44;  three  choruses  for  men. 
Op.  45;  five  songs.  Op.  46;  five  songs. 
Op.  47 ;  five  songs.  Op.  48 ;  eight  songs. 
Op.  49 ;  the  one-act  opera  "  Feuers- 
not,"  Op.  50;  "Das  Thai,"  for  bass 
and  orchestra.  Op.  51;  "  Taillefer," 
choral  ballad  with  soli  and  orchestra, 
Op.  52 ;  "  Sinfonia  Domestica,"  Op. 
53;  the  one-act  opera  "Salome,"  Op. 
54 ;  a  burlesk  for  piano  and  orchestra, 
a  "  soldatenlied  "  for  male  choir,  and 
the  opera  "Elektra"  (1908),  without 
opus  numbers.  B.  June  11,  1864,  Mu- 
nich ;  add.  Berlin.  See  biography.  Dr. 
Arthur  Seidl,  Prague. 

Stravagante.  /*.  Capricious,  ex- 
travagant. 

Stravaganza.  It.  Fanciful,  ex- 
travagance. 

Street  (G-.  Ernest)  composed  the 
ballet  "  Scaramouche"  (with  Mes- 
sager),  1891;  the  one-act  opera 
"Fides,"  Paris  Op6ra  Oomique,  1894; 
"Mignonette,"  1896;  wrote  music 
criticism,  "L'Eclair,"  Paris;  pupil 
Bizet  and  Damcke.  B.  1854,  Vienna; 
add.  Paris. 

Street  (Josiah)  published  "  A  booke 
containing  great  variety  of  Anthems," 
London,  1746. 

Streiclier  (Johann  Andreas)  made 
pianos  in  partnership  with  his  wife, 
Nannette  STEIN. 

Streichinstrument.  Oer.  String 
instrument. 

Streichquartett.  Ger.  STRING 
QUARTET. 

Streiohzither.  Qer.  Zither  played 
with  a  bow. 


STBENE 


649 


STBXTNGK 


Strene.  BREVE,  so-called  by  Mar- 
becke;  note  stretched  or  strained  for 
purposes  of  recitation;  note  bounded 
by  two  lines. 

Streng.    Oer.   Severe,  strictly  rigid. 

Strepito.    It.    Noise. 

Strepitosamente.     /*.     Noisily. 

Strepitoso.     It.    Noisy,  impetuous. 

Stretta.  It.  CODA;  taken  in  faster 
time  than  the  movements  preceding  it. 
Haydn's  "  The  Heavens  are  telling,"  is 
a  stretta. 

Stretto.  It.  "  Contracted,"  as  in  a 
FUGUE,  the  bringing  closely  together 
of  the  subject  and  its  answer. 

Striking-reed.     Percussion  REED. 

Strinasacchi  (Begina)  played  vio- 
lin; was  an  especial  favourite  in  Vi- 
enna, where  Mozart  composed  a  sonata 
for  her;  pupil  Venice  Conservatorio 
della  Pieta.  B.  1764,  near  Mantua;  m. 
J.  C.  Schlick,  the  'cellist;  d.  1823. 

String.  The  general  name  in  music 
for  every  vibrating  cord  used  in  the 
production  of  tone,  whether  a  drawn 
cast  steel  wire  for  use  in  the  piano, 
the  spun  silk  sometimes  used  for  vio- 
lins and  guitars,  or  the  entrails  of 
sheep  familiarly  known  as  "  catgut." 
To  secure  a  deep  tone  without  too 
much  bulk  it  is  customary  to  bind  the 
G  string  of  the  violin,  two  lower 
strings  of  viola  and  'cello,  and  three 
strings  of  the  guitar  with  a  wrapping 
of  silver  or  other  white  metal.  The 
highest  string  of  many  instruments  is 
called  the  chanterelle.  The  Italians 
are  reputed  to  be  the  best  makers  of 
strings  for  instruments  of  the  violin 
and  guitar  families.  The  tension  of  a 
set  of  strings  for  violin  has  ranged, 
according  to  the  standard  of  PITCH, 
from  63  to  90  pounds.  The  tension  of 
a  modem  grand  piano  is  upwards  of 
two  tons. 

Stringendo.  It.  Pressing,  hasten- 
ing on  the  time. 

String-gauge.  Instrument  con- 
sisting of  a  disc  or  an  oblong  piece  of 
metal  with  a  graduated  slit  and  en- 
graved table,  for  measuring  the  thick- 
ness of  strings  for  violins  and  other 
string  instruments.    ' 

String  Quartet.  Quartets  for 
strings  in  Sonata  FORM  were  devel- 
oped   by    Haydn,    Mozart,    and    Bee- 


thoven, becoming  the  highest  and  most 
important  class  of  chamber  music. 
They  are  scored  for  first  and  second 
violin,  viola,  and  'cello.  Reinforced  by 
a  doublebass,  a  QUINTET  is  formed, 
and  with  the  further  addition  of  a 
third  violin,  a  SEXTET.  Combina- 
tions of  the  stringed  instruments  in  an 
orchestra  are  commonly  referred  to 
collectively  as  "  the  strings." 

Strisciando.  /*.  "  Creeping,"  slur- 
ring from  one  note  to  another. 

Strofa.     /*.    STROPHE. 

Strogers  (Nicliolas)  composed  ser- 
vices; played  organ;  England,  17th 
century. 

Strohfiedel.  Ger.  Ligneum  Psalte- 
rium  or  XYLOPHONE. 

Strokmeyer  (Carl)  sang  bass  at  the 
court  of  Weimar;  range  D  to  g.'  B. 
1780,  Stollberg;  d.  Nov.  11,  1845, 
Weimar. 

Strombettare.  It.  To  sound  a 
trumpet. 

Strombettiere.  It.  Trumpet-player. 

Stromentato.  It.  Instrumented, 
scored  for  an  orchestra. 

Stromento.    /*.    Instrument. 

Strong  (G.  Templeton)  composed 
the  symphony  "  In  dem  Bergen,"  the 
symphonic  poem  "  Undine  " ;  choral 
works  with  orchestra  and  piano 
music;  pupil  Leipsic  Conservatory.  B. 
New  York,  May  26,  1856 ;  add.  Vevay, 
Switzerland. 

Strophe.  Or.  "A  turning";  as 
the  turning  of  the  Greek  chorus  toward 
a  particular  part  of  the  orchestra, 
when  dancing.  Antistrophe  was  their 
returning.  Hence  verses  for  alternate 
singers  or  choirs. 

Stroud  (Charles)  composed  the  an- 
them, "  Hear  my  prayer,  O  God  " ; 
played  organ  Whitehall  Chapel;  in 
boyhood,  chorister  Eng.  Chapel  Royal. 
B.  1705 ;  d.  April  26,  1726. 

Strungk  (Delphin)  composed  or- 
gan music;  played  organ  at  St.  Mar- 
tinskirche,  Brunswick.  B.  1601, 
Brunswick ;  d.  1694,  Brunswick. 
Nicholas  Adam  composed  "  Alceste  " 
and  many  other  operas  to  German 
text ;  founded  the  opera  house  at  Leip- 
sic, 1692;  played  violin;  in  early  life 
court  musician  at  Hanover  and  Dres- 
den;  pupil  of  his  father  DELPHIN. 


STUBENOEGEL 


650      SUBSIDIZED    THEATRES 


B.  1640,  Celle;  d.  Sept.  23,  1700, 
Dresden. 

Stubenorgel.   Ger.  Chamber  organ. 

Stuck.   Oer,  Air,  tune,  composition. 

Study.  Exercise  for  a  musical 
instrument  or  the  voice, 

Stufe.  Oer.  Step,  a  degree,  as  der 
Tonleiter,  a  degree  of  the  scale. 

Stiirmisch.  Qer.  Furiously,  bois- 
terously. 

Style.  Characteristic  manner,  as 
a  composer's  style;  national  conven- 
tion, as  German  style;  form  of  con- 
struction, as  chromatic  or  fugal  style. 

Suabeflute.     Ger.    FLUTE. 

Suave.    It.    Pleasant,  agreeable. 

Suavemente,  Suavita  con.  It. 
Sweetly  and  with  delicacy. 

Sub-bass  —  Sub-Bourbon.  OE- 
GAN  pedal  register  of  32-foot  pitch. 

Sub-cbanter.     Suecentor. 

Subdiapente,  Subdominant. 
Fourth  above  or  fifth  below  the  key 
note. 

Subitamente,  Subito.  It.  Quickly, 
without  pause. 

Subject.  Theme  or  principal  musi- 
cal phrase  in  a  composition  in  any 
FORM,  whether  sonata,  RONDO,  or 
FUGUE. 

Subsidized  Theatres  are  those 
which  are  supported  in  part  by  grants 
of  money  from  a  government,  a  sys- 
tem generally  prevalent  except  in  Eng- 
lish speaking  countries.  Nearly  every 
nation  in  Europe  possesses  a  ministry 
of  fine  arts,  sometimes  in  combination 
with  the  department  devoted  to  edu- 
cation, but  more  often  separate.  In 
either  case  this  branch  of  the  govern- 
ment assumes  a  general  supervision  of 
all  the  arts,  and  occupies  a  position  of 
no  less  dignity  and  importance  than 
a  British  Board  of  Trade  or  an  Ameri- 
can Department  of  Agriculture.  Nor 
is  such  a  ministry  without  commercial 
value,  since  those  countries  which 
place  music,  the  theatre,  painting,  and 
sculpture  on  a  purely  commercial  basis, 
are  compelled  to  pay  tribute  in  cash  to 
the  others,  whether  republican  or  mon- 
archical, which  profess  a  paternal  in- 
terest in  such  matters.  Art  is  a  re- 
public since  the  collective  judgment  of 
a  people  is  final,  and  one  from  which 
no  artist  can  appeal;  and  republican 


France  presents  the  most  perfect  or- 
ganization in  the  world  for  the  en- 
couragement, diffusion,  and  maintain- 
ance  of  art ;  yet  from  the  beginning  it 
has  been  the  princes,  whether  secular 
or  religious,  who  have  been  its  best 
patrons,  and  to  Louis  XIV  and  to 
Napoleon  France  owes  her  pre-emi- 
nence. To  the  Bourbon  the  world  is 
indebted  alike  for  the  House  of  Mo- 
liSre  and  the  Opfira,  and  to  the  Corsi- 
can  for  that  splendid  Conservatoire 
which  has  preserved  the  classic  tradi- 
tions, trained  the  interpretive  artists, 
and  helped  the  men  who  have  lent  their 
creative  genius  to  both  institutions. 
But  the  subsidized  theatre  is  not  de- 
pendent upon  central  government 
alone.  There  is  hardly  a  city  in  Europe 
of  more  than  25,000  inhabitants  which 
does  not  possess  its  municipal  theatre, 
which  does  not  have  its  season  of  lyric 
drama,  and  its  municipal  concerts,  all 
at  a  price  within  the  means  of  the  gen- 
eral public,  and  all  serving  as  training 
schools  for  singers,  instrumentalists, 
conductors,  and  composers.  Thus  La 
Scala,  the  home  of  lyric  drama  in 
Milan,  is  owned  and  largely  governed 
by  the  municipality,  and  has  an  as- 
sured income  of  $60,000  per  annum  in 
subsidies.  The  Opera  and  Opera 
Comique,  and  since  1908  the  6ait6 
Theatre  in  Paris,  are  under  govern- 
ment control.  In  the  Gai'tfi,  the  ex- 
periment was  made  of  giving  the 
theatre  rent  free  to  the  Isola  Fr6res, 
and  compelling  the  Opgra  and  Opfira 
Comique  to  lend  scenery  artists  and 
chorus  when  needed,  on  condition  that 
performances  be  given  at  popular 
prices.  The  highest  seats  were  sold  at 
80  cents,  the  cheapest  at  10  cents,  and 
there  were  500  10-cent  seats  at  each 
performance.  The  repertoire  included 
"ROBERT  LE  DIABLE,"  "FAVOR- 
ITA,"  "MIGNON,"  "TRAVIATA," 
"TROVATORE,"  "CAVALLERIA 
RUSTICANA,"  etc.  Besides  a  govern- 
ment subsidy,  divided  between  the 
OPERA  and  OP^RA  COMIQUE,  of 
which  the  OpSra  alone  received  $160,- 
000  yearly,  the  Broussan  and  Messager 
management  of  the  Opgra  had  a  guar- 
.antee  fund  of  about  $250,000  raised  by 
subscription.    A  complete  performance 


SUBSIDIZED    THEATRES      651     SUBSIDIZED    THEATRES 


of  the  "  Ring  des  Nibelung,''  and  a 
supplementary  season  devoted  to  Rus- 
sian operas  thus  became  possible  dur- 
ing the  first  season  of  the  new  man- 
agement. The  court  opera  in  Vienna 
has  always  been  practically  supported 
by  the  reigning  family,  while  the 
minor  theatres  have  also  participated 
in  a  distribution  of  government  funds. 
In  Berlin,  where  the  Kaiser  is  mani- 
festing a  greater  interest  in  music 
than  any  of  the  HohenzoUerns  since 
the  reign  of  FREDERICK  THE 
GREAT,  the  opera  houses,  the  prin- 
cipal institutions  of  learning  for  music 
and  the  other  fine  arts,  have  been 
always  supported  mainly  by  the  gov- 
ernment, and  plans  were  being  per- 
fected in  1908  for  erection  of  a  People's 
.  Opera  House  at  a  cost  of  $4,000,000, 
half  to  be  paid  by  the  municipality  of 
Berlin,  and  half  by  parliament,  the 
municipality  to  then  become  a  partner 
in  the  ownership  of  the  present  opera 
house.  The  best  seats  in  the  new 
theatre  will  be  87%  cents,  and  the 
cheapest,  12%  cents.  It  was  in  Berlin 
that  Geraldine  <l^rrar  found  the  op- 
portunity to  develop  as  an  opera 
singer  which  was  denied  her  in 
America,  and  it  was  in  Berlin  that 
half  a  dozen  young  artists  developed, 
during  the  existence  of  the  Henry  W. 
Savage  English  opera  company,  and 
took  refuge,  when  it  disbanded;  while 
his  prima  donna,  Gertrude  Rennyson, 
joined  the  forces  of  the  Vienna  opera, 
where  Edith  Walker  had  her  first 
chance.  Mary  Garden  was  one  of  the 
many  English  speaking  artists  formed 
at  the  Paris  Opfira  Comique.  The 
Leipsic  Theatre,  as  well  as  the  Conser- 
vatory, are  under  royal  patronage; 
the  Dresden  Opera,  like  that  of  Mun- 
ich, is  chiefly  supported  by  the  court, 
while  from  Barcelona  to  Hamburg,  and 
from  Bordeau  to  Moscow,  the  subsi- 
dized or  municipal  theatre  is  a  flour- 
ishing institution.  Turning  to  London 
and  New  York,  with  three  notable 
exceptions,  the  Carl  Rosa  company  m 
London,  the  Savage  company,  now 
disbanded,  and  the  Manhattan  Opera 
House,  opera  has  been  possible  only 
by  a  system  of  subsidies,  the  differ- 
ence being,  that,  instead  of  an  allow- 


ance or  guarantee  by  government,  an 
Opera  Syndicate,  composed  of  wealthy 
Englishmen,  provides  the  funds  with 
which  to  meet  deficits  at  Covent  Gar- 
den, London;  while  the  Metropolitan 
Realty  Company  in  New  York  not  only 
owns  the  opera  house,  but  guarantees 
the  company  of  which  the  impresarii 
are  the  heads.  If  he  New  Theatre,  which 
was  being  erected  in  New  York,  1908, 
and  at  which  it  was  proposed  to  give 
opera  comique,  was  based  on  the  same 
system.  But  the  system  of  private 
guarantors  cannot  be  said,  in  view  of 
the  experience  of  the  whole  world,  to 
be  a  success.  The  history  of  opera  in 
the  larger  music  centres  of  Europe 
is  practically  continuous.  In  London, 
it  is  a  record  of  fabulous  prices  to 
singers  of  foreign  training,  of  re- 
peated financial  failures,  and  of  music 
drama  in  every  language  except  the 
only  one  spoken  by  the  masses  of  the 
population.  Needless  to  say,  the  native 
composers  have  been  obliged  to  devote 
their  attention  to  works  for  which  they 
might  hope  to  obtain  a  hearing.  Ethel 
Smyth  composed  to  German  libretti; 
Balfe  drew  on  Paris  for  the  support 
he  could  not  secure  at  home ;  the  works 
of  Wallace  have  been  permanently 
shelved;  and  the  only  English  operas 
known  to-day  are  the  comic  operas 
of  Sullivan,  and  the  so-called  musical 
comedie's,  which,  as  a  class,  take  their 
place  in  art  half-way  between  the 
ballad  opera  and  the  coon  song.  Under 
the  Opera  Syndicate,  Covent  Garden 
has  been  able  to  hold  its  own  and  that 
is  all.  In  New  York  every  impresario, 
until  the  administrations  of  Maurice 
Grau  and  H.  von  Conried,  became 
bankrupt,  or  gave  up  in  despair. 
Under  Conried  the  receipts  at  the 
Metropolitan  mounted  to  $1,200,000 
per  annum,  and  he  is  said  to  have 
cleared  $27,000  on  his  first  performance 
of  "  Parsifal,"  but  in  1908  there  were 
no  prospects  of  opera  in  the  vernacular 
beyond  the  promise  held  out  by  Gatti- 
Casazza  to  produce  "  The  Pipe  of  De- 
sire," by  Frederick  S.  Converse.  The 
first  American  opera,  now  extant,  was 
composed  by  Francis  Hopkinson, 
Philadelphia,  1767,  to  book  by  Andrew 
Barton.     It  bore  the  ominous   title 


SUBMEDIENT 


652 


SULLIVAN 


"  The  Disappointment,"  foreshadowing 
the  fate  of  American  composers  for 
the  next  century  and  a  half.  William 
H.  Fry,  critic  of  the  New  York  Tri- 
bune, composed  "  Leonora "  and 
"  Notre  Dame  de  Paa-is,"  1863.  Walter 
Damrosch  produced  his  own  "  Scarlet 
Letter,"  while  at  the  head  of  his  own 
company;  but  while  serious  operas 
have  been  composed  by  two-score 
Americans,  not  one  has  obtained  an 
adequate  production  with  the  excep- 
tion of  the  "  Scarlet  Letter."  Polyglot 
grand  opera,  polyglot  to  the  extent  of 
several  languages  being  heard  in  a 
single  performance,  has  been  the  rule; 
and  only  Sousa,  Herbert,  and  De  Koven 
have  produced  acceptable  comic  operas. 
It  would  seem,  therefore,  that  while  the 
subsidy  or  paternal  system  has  resulted 
in  the  production  of  all  of  the  world's 
masterpieces  of  serious  opera,  the  com- 
mercial system,  with  its  expensive 
stars,  inattention  to  ensemble,  and 
frequent  bankruptcies,  despite  the 
promises  of  private  guarantors,  ,has 
blighted  the  genius  or  the  ambition 
of  English  speaking  composers. 

Submedient.  Sixth  note  of  the  scale. 

Suboctave.  Coupler  which  pulls 
down  the  keys  of  the  organ  an  octave 
below  those  which  are  struck. 

Subprlncipal.  Organ  stop  of  open 
pipes,  32-foot  pitch  on  the  pedals,  and 
16  on  the  manuals. 

Subsemifusa.  L.  Demisemiquaver 
or  32d  note. 

Subsemitone.     LEADING  NOTE. 

Subsemitonium  Klodi.  L.  LEAD- 
ING NOTE. 

Subtonic,  LEADING  NOTE. 

Succentor.  Sub-chanter  or  deputy 
of  the  precentor  in  cathedral  choirs. 

Such  (Henry)  played  violin ;  taught 
Guildhall  School  of  Music  from  1898; 
pupil  of  Joachim.  B.  Mar.  31,  1872, 
London;  add.  London.  Percy  Fred- 
erick played  'cello,  assisting  in  Joa- 
chim quartette;  pupil  of  the  Berlin 
Hochschule;  brother  of  HENRY.  B. 
June  27,  1878,  London;  add.  London. 

Sucber  (Josef)  conducted  opera  in 
Vienna,  and  Leipsic,  and  Berlin.  Bosa 
Hasselbeck  sang  sop.  in  opera,  not- 
ably as  Elsa,  Isolde,  Euryanthe, 
Brunnhilde  and  Siegliude,  Berlin,  Lon- 


don and  New  York,  and  as  Eva  and 
Kundry  at  Bayreuth.  B.  Velburg, 
Feb.  23,  1849;  m.  Josef;  retired,  1903, 
after  long  service  at  the  Berlin  Opera. 

Sudden  Modulation.  Abrupt 
MODULATION. 

Sudds  (William)  composed  the 
cantata  "  Star  of  Bethlehem,"  over- 
tures, dances,  church  music;  wrote 
textbooks;  taught;  bandmaster  dur- 
ing Civil  War,  and  then  pupil  Boston 
Conservatory.  B.  Mar.  5,  1843; 
settled  with  his  parents  at  Gouverneur, 
N.  Y.,  at  7;    add.  Gouverneur. 

Sufllote  or  Sifflbte,  Whistle  FLUTE. 

Suite.  Fr.  Series  of  movements  in 
music.  Name  of  collections  of  dance 
tunes  differing  in  character  but  sim- 
ilar in  key;  the  Suite  afterwards 
evolved  the  SONATA,  the  latter  devel- 
oping into  a  composition  of  definite 
FOEM  and  arrangement. 

Suivez.  Fr.  "  Follow."  Direction 
to  the  accompanist  to  accommodate 
the  accompaniment  to  the  soloist. 

Sujet.  Fr.  SUBJECT,  phrase, 
theme. 

Suk  (Josef)  played  violin  BOHE- 
MIAN QUARTETTE.      ■ 

Sul,  Sull,  Sulla.    It.    "  Upon,  by." 

Sullivan  (Dr.  Sir  Arthur  Sey- 
mour) composed  much  excellent  music 
in  all  forms,  most  of  which  has  been 
overshadowed  by  the  extraordinary 
success  of  "  H.  M.  S.  Pinafore,"  "  The 
Mikado,"  etc.,  comic  operas  to  books 
by  W.  S.  Gilbert.  Son  of  an  Irish 
bandmaster  and  clarinetist,  like  many 
other  eminent  British  musicians,  Sul- 
livan received  his  early  training  as  a 
choirister  in  the  Eng.  Chapel  Royal, 
where  Rev.  Thomas  Helmore  was 
Master  of  the  Children  when  he  en- 
tered, 1854.  He  was  the  first  to  win 
the  Mendelssohn  Scholarship  at  the 
Royal  Academy  of  Music,  1856,  but 
continued  at  the  Chapel  Royal  until 
his  voice  broke;  and  the  following 
year,  or  in  1858,  entered  the  Leipsic 
Conservatory,  where  he  remained  un- 
til 1861,  studying  with  Moscheles, 
Hauptmann,  Plaidy,  Rietz,  and  Rich- 
ter.  His  first  composition,  "  O  Israel," 
a  sacred  soiig,  was  published  at  13 
(Novello),  and  his  "Lalla  Rookh" 
overture  was  composed  at  18,  but  the 


SULLIVAN 


653 


STJONATA 


music  to  "The  Tempest,"  which  he 
produced  in  London  on  his  return 
from  Leipsic,  was  his  first  notable 
success.  In  1864,  his  cantata  "  Kenil- 
worth  "  was  sung  at  the  Birmingham 
Festival,  and  in  the  same  year  his 
ballet  music  "L'lle  enchantge,"  was 
performed  at  Covent  Garden.  His 
first  opera,  "  The  Sapphire  Necklace  " 
to  a  poor  libretto  by  Chorley  was  not 
performed;  but  his  symphony  in  E,  an 
"In  Memoriam"  overture  on  the  death 
of  his  father,  the  overture  "  Mar- 
mion,"  and  the  oratorio  "The  Prodi- 
gal Son "  were  all  produced  before 
the  close  of  1869,  the  last-named  work 
at  the  Worcester  Festival.  "  Cox  and 
Box,"  to  book  adapted  by  Burnand  was 
produced  in  1867,  and  followed  by 
"  The  Contrabandista  " ;  but  his  first 
real  success  as  a  dramatic  composer 
began  with  his  association  with  Gil- 
bert, with  whom  he  produced  "  Thes- 
pis,"  1871,  "  Trial  by  Jury,"  1875,  and 
in  1887,  "  The  Sorcerer,"  which  ran  at 
the  London  Opera  Comique  175  nights. 
"Pinafore,"  produced  May  25,  1878, 
was  performed  700  times  at  the  same 
house,  was  pirated  in  London,  and 
played  by  several  companies  simultan- 
eously in  the  United  States.  This  ex- 
traordinary success  resulted  in  the 
composition  of  "  Pirates  of  Penzance," 
1880;  "  Patience,"  1881 ;  "  lolanthe," 
1882;  "The  Mikado,"  1885;  "  Ruddi- 
gore,"  1887;  "  Yeomen  of  the  Guard," 
1888,  and  "The  Gondoliers,"  1889; 
those  of  later  date  than  1881  being 
produced  at  the  Savoy,  built  expressly 
for  the  Gilbert  and  Sullivan  produc- 
tions, and  managed  by  D'Oyly  Carte. 
The' libretti  for  these  works  are  un- 
equalled in  English,  and  unsurpassed 
in  any  language.  Then  came  the  dis-, 
agreement  between  composer  and  lib- 
rettist, and  Sullivan's  next  work, 
"Hadden  Hall,"  was  to  book  by 
Grundy.  The  following  year  the  dif- 
ferences had  been'  forgotten,  and 
"Utopia  Limited"  was  composed  to 
Gilbert's  book.  "The  Grand  Duke" 
was  produced,  1896,  but  again  the 
composer  and  librettist  parted.  Sul- 
livan's "The  Beauty  Stone,"  was 
composed  to  book  by  Carr  and  Pinero, 
and  "  The  Rose  of  Persia,"  to  book  by 


Hood.  His  next  work,  "  The  Emerald 
Isle,"  was  left  unfinished  at  his  death 
and  completed  by  EDWARD  GER- 
MAN. "  Ivanhoe,"  his  only  attempt 
at  grand  opera,  although  given  a  most 
careful  production  in  1891,  proved  a 
complete  failure.  Of  his  many  songs 
"The  Lost  Chord"  has  proved  most 
popular.  His  oratorios  included  "  The 
Light  of  the  World"  to  biblical  text 
of  his  own  compilation,  Leeds,  1873; 
"The  Martyr  of  Antioeh,"  Leeds,  1880; 
and  "  The  Golden  Legend  "  to  book  by 
Bennett  adapted  from  Longfellow, 
Leeds,  the  best  of  them  all.  Besides 
many  hymns,  of  which  "  Onward, 
Christian  Soldiers  "  is  the  best  known, 
he  composed  13  anthems,  six  sacred 
part-songs.  Other  works  to  be  noted: 
incidental  music  to  "  The  Merchant 
of  Venice,"  "  The  Merry  Wives  of 
Windsor,"  "  Henry  VIII,"  "  Macbeth," 
"  The  Foresters,"  the  ballet  "  Victoria 
and  Merrie  England,"  a  "  Festival  Te 
Deum,"  "  Overture  di  Ballo,"  and  the 
cantata  "  On  Shore  and  Sea."  Sulli- 
van was  knighted  in  1883,  was  chev- 
alier of  the  Legion  of  Honor,  and  of 
the  Order  of  Saxe  Coburg  and  Gotha; 
Mus.  Dr.  of  both  Oxford  and  Cam- 
bridge, and  organist  to  the  Mason 
Grand  Lodge;  Principal  of  the  Na- 
tional Training  School,  1876-81,  and  a 
useful  member  of  many  institutions. 
B.  May  13,  1842,  London;  d.  Nov.  22, 
1900,  London. 

Sultana.  Violin  with  strings  of 
wire  in  pairs,  like  the  cither  or  cittern. 

Sulzer  (Salomon)  published  "  Schir 
Zion,"  1838,  a  fine  collection  of  syna- 
gogue music;  wis  cantor  at  13,  and 
from  1825,  of  the  new  synagogue,  Vi- 
enna. B.  Mar.  30,  1804,  Voralberg; 
d.  Jan.  18,  1890,  Vienna. 

Summation  Tones.  ACOUSTICS 
teaches  that  combination  of  two  tones 
produces  also  a  tone  whose  vibrations 
equal  the  sum  of  the  primary  tones. 

Sunderland  (Susan  Sykes)  sang 
sop.  in  English  oratorios  and  concerts ; 
called  "  the  Yorkshire  Queen  of  Song." 
B.  April  30,  1819,  Brighouse;  d.  May 
7,  1906. 

Suo  Loco.  It.  In  its  own  place  on 
the  register  as  written. 

Suonata.     SONATA. 


SUFEK 


654 


SVENDSEN 


Super.  L.  Above,  over  as  domi- 
nant, note  next  above  the  dominant. 

Superfluous  Intervals.  INTER- 
VALS a  semitone  greater  than  major 
or  perfect. 

Superius.  L.  The  upper  part  in 
a  composition,  so  called  by  the  writers 
of  the  16th  century. 

Superoctave.  Organ  stop  tuned  two 
octaves  above  the  diapasons;  coupler 
pulling  down  keys  an  octave  above 
those  struck. 

Supersus.  Term  formerly  applied 
to   high   treble   parts. 

Supertonlque.  Fr.  Supertonic  or 
tone  above  the  tonic. 

Suppe,  von  (Franz)  composed  the 
operas  "  Fantinitza,"  "  Boccaccio," 
"  Pique  Dame,"  "  Die  Afrikareise," 
and  in  all  165  farces,  and  singspiele,  a 
"Missa  Dalmatica,"  and  the  Requiem 
"  L'estremo  Giudizio."  His  family 
was  of  Belgian  descent,  though  long 
domiciled  at  Cremona,  and  his  full 
name  was  Francesco  Ezechiele  Erme- 
negildo,  Cavaliere  Suppe  Demelli.  At 
13  he  produced  a  Mass  sung  in  Zara, 
but  despite  his  fondness  for  music,  his 
father  placed  him  at  the  University 
of  Padua  to  qualify  for  a  medical 
career.  Shortly  afterwards  the  father 
died,  his  mother  settled  in  Vienna,  and 
there  Suppe  joined  her.  He  had  re- 
ceived lessons  from  Cigali  and  Ferrari 
in  Padua,  and  these,  supplemented  by 
instruction  from  Seyfried,  in  Vienna, 
enabled  him  to  conduct  at  the  Joseph- 
stadt  Theatre.  He  obtained  no  salary, 
but  soon  secured  engagements  that 
did  pay,  and  in  1865  settled  at  the 
Leopoldstadt  Theatre,  where  he  prac- 
ticed at  patching  up  pasticcios  and 
conducting.  "Das  Madchen  vom 
Lande,"  was  his  first  big  success,  1847, 
then  came  the  very  popular  ephemeral 
pieces  which  included  parodies  on 
"  Tannhauser,"  "  Diuorah,"  his"Dich- 
ter  und  Bauer,"  "  Paragraph  3  "  and 
"  Franz  Schubert."  B.  April  18,  1820, 
Spalato;    d.  May  21,   1895. 

Supplichevole,  Supplichevole- 
mente.  /*.  In  a  supplicating  manner. 

Supposed  Bass.  A  bass  note  form- 
ing one  of  the  inversions  of  a  chord  as 
compared  with  the  real  bass  note  or 
generator. 


Sur.    Fr.    "  Over,  upon,  on." 

Surette  (Thomas  Whitney)  com- 
posed the  two-act  operetta  "  Pria- 
cilla  ";  wrote  and  lectured  on  music; 
played  organ;  pupil  of  Arthur  Foote 
and  J.  H.  Paine,  graduated  from  Har- 
vard, 1891.  B.  Sept.  7,  1862,  Concord, 
Mass.;    add.  New  York. 

Susanna.'  George  Frederick  Han- 
del's oratorio  was  begun  July  11,  1748, 
completed  Aug.  24  of  that  year,  and 
first  performed  1749. 

Susato  (Tylman)  published  more 
than  50  vols,  of  music  in  Antwerp, 
1543-61,  most  of  them  containing  one 
or  more  of  his  own  works,  for  before 
turning  music  publisher  he  had  been 
town  musician.  B.  Cologne  about 
1500;    d.  about  1564. 

Suspended  Cadence.  Interrupted 
CADENCE. 

Suspension.  Sustaining  or  holding 
a  note  in  any  chord  into  a  subsequent 
chord  in  which  it  produces  discord, 
thus  requiring  resolution.  The  fourth, 
sixth,  seventh,  and  ninth  are  the  inter- 
vals most  commonly  used  for  suspen- 
sions, which  may  be  double  or  triple 
as  two  or  three  notes  are  suspended. 

SUss.     Ger.     Sweet. 

Stissmayer  (Franz  Zaver)  com- 
posed the  opera  "Moses,"  Vienna, 
May  4,  1792,  "  Der  Better  in  Gefahr," 
a  patriotic  cantata;  masses  and  much 
dramatic  music  produced  while  he  was 
ehapelmaster  of  the  Karnthnerthor 
Theatre;  was  the  intimate  friend  of 
Mozart,  for  whom  he  completed  the 
Requiem,  obtaining  final  instructions 
at  Mozart's  deathbed;  pupil  of  Mozart 
and  Salieri.  B.  1766,  Steyer,  Austria; 
d.  Sept.  16,  1803,  Vienna. 

Sussurando,  Sussurante.  It.  Mur- 
muring, whispering. 

Sustained  Note.  Prolonged  notes 
partaking  of  the  character  of  a  pedal- 
point  because  of  their  immunity  from 
ordinary  harmonic  rules,  but  which 
really  cannot  be  'called  pedal-points  as 
they  occur  in  the  middle  or  upper 
part. 

Svegliato.     It.     Lively,  brisk. 

Svelto.     It.    Easy,  free,  quick. 

Svendsen  (Johan  Severin)  com- 
posed symphony  in  D,  symphony  in 
B  flat,  overture  to  the  play  "  Sigurd 


SVENtSEN 


655 


SYMPHONY 


Slembe,"  string  quintet  in  C;  con- 
ducted Christiania  Musical  Associa- 
tion, and  from  1883  at  the  court  of 
Copenhagen.  Son  of  a  bandmaster,  he 
picked  up  a  smattering  of  many  in- 
struments in  childhood,  and,  after 
■wandering  over  Germany,  entered  the 
Leipsic  Conservatory  as  a  pupil  of 
Hauptmann,  David,  Richter  and 
Keinecke,  and  was  awarded  the  hon- 
orary gold  medal  on  his  departure, 
1867.  Then  he  resumed  his  wander- 
ings, played  for  a  time  in  Musard'a 
orchestra,  Paris.  In  1870  hia  sym- 
phony was  performed  at  the  Gewand- 
haus,  Leipsic,  and  the  following  year 
he  visited  America,  taking  a  bride 
home  with  him  to  Leipsic.  There  he 
conducted  the  Euterpe  Society  for  a 
year,  and  then  settled  in  Christiania, 
where  he  conducted  and  taught  until 
his  appointment  in  Denmark,  making 
occasional  concert  tours  of  Europe. 
Other  works  to  be  noted  "Funeral 
March,"  for  Charles  XV,  four  rhap- 
sodies Norvegienne,  Coronation  March 
for  Osear  II,  overture  to  Romeo  and 
Juliet,  octet  for  strings,  A  minor; 
concerto  for  violin  in  A,  romance  in  G 
for  violin  and  orchestra.  B.  Christi- 
ania, Sept.  30,  1840;  add.  Copen- 
hagen. 

Svendsen  (Oluf)  played  flute; 
taught.  Royal  Academy  of  Music, 
London;  pupil  of  Nils  PETERSON. 
B.  April  19,  1832,  Christiania;  d. 
May  15,  1888,  London. 

Sweeltnck  (Jan  Pieterzoon)  com- 
posed "Cantiones  Sacrae,"  Psalms, 
"  Rimes  Frangoiseg  et  Italiennes," 
organ  music,  and  for  clavier ;  was  the 
foremost  of  early  Dutch  organists,  the 
greatest  of  teachers  for  that  instru- 
ment, and  by  reason  of  this  fact, 
founder  of  the  German  school  of  organ 
playing,  which  culminated  in  Bach. 
Pupil  of  his  father,  who  had  preceded 
him  as  organist  of  the  Old  Church, 
Amsterdam;  dying  in  1573,  Sweelinok 
may  have  studied  for  a  time  in  Venice 
with  Zarlino  and  Gabrieli.  Breitkopf 
&  Hartel  published  his  complete  works, 
1901,  edited  by  Max  Seiffert.  B.  1562, 
Amsterdam;    d.  Oct.  16,  1621. 

Swell.  ORGAN  pedal  mechanism 
for  increasing  the  tone. 


Swieten,  van  (Baron  Gottfried) 
composed  six  symphonies;  helped 
found  a  "  Musikalisehe  Gesellschaf t " 
in  Vienna  composed  of  the  nobility, 
which  was  a  pioneer  for  the  Gesell- 
schaft  der  Musikf reunde ;  was  notable 
as  a  patron  of  music,  ambassador  to 
Frederick  the  Great  and  President  of 
the  Austrian  Educational  Commission. 
B.  1734;   d.  Mar.  29,  1803,  Vienna. 

Swiney  (Owen)  managed  London 
theatres  1707,  but  bankrupted  himself 
in  opera.  B.  1680,  Ireland;  d.  1754, 
London. 

Sylphide.  Schneitzhofler's  two-act 
ballet  to  plot  by  Nourrit  was  first  per- 
formed Mar.  2,  1832,  at  the  Paris 
Opgra,  with  Taglioni  in  the  name  part. 

Sylvia.  Leo  Delibes  two-act  ballet 
pantomime  to  plot  by  Barbier,  was 
first  performed  June  14,  1876,  at  the 
Paris  Op6ra. 

Symphonic  Poem  is  a  misnomer 
for  the  compositioiis  requiring  orches- 
tras of  symphonic  proportions,  but 
which  depart  from  symphonic  FORM, 
which  began  with  the  important  works 
characterized  by  Franz  Liszt  as  Sym- 
phonische  Dichtungen,  and  for  which 
the  French  have  adopted  the  equiva- 
lent Poems  Symphoniques.  The  so- 
called  symphonic  poems  of  Liszt  are 
noble  works,  but  descriptive  and  ir- 
regular rather  than  thematic  in  devel- 
opment, and  the  later  composers  of 
symphonic  poems  have  departed  still 
further  from  the  traditions  of  the  sym- 
phony, so  that  the  term  has  become 
meaningless. 

Symphonion.  Combination  of  the 
pianoforte  and  harmonium,  invented 
by  Kauffman  of  Dresden. 

Symphony.  Composition  differing 
in  FORM  from  the  sonata  in  being  for 
full  orchestra  instead  of  for  one  or 
two  instruments,  and  thus  permitting 
of  more  elaborate  structure.  There 
are  usually  four  movements  to  a  sym- 
phony, the  first  and  last  in  true  sonata 
FORM,  and  commonly  arranged  as  fol- 
lows: allegro,  largo  or  adagio  or 
andante,  scherzo  or  minuet  and  trio, 
allegro.  Sometimes  the  minuet  or 
scherzo  precedes  the  slow  movement. 
The  general  form  of  the  symphony 
was  fixed  by  Haydn,  and,   like,  the 


SYMPOSIAC 


6S6 


TAB    SHAKEE 


string  quartet,  developed  by  Mozart 
and  Beethoven,  the  last-named  master 
even  adding  a  chorale  to  his  Ninth 
and  last  symphony.  Formerly  the 
overtures  to  operas  and  oratorios,  and 
the  preludes,  interludes  and  postludes 
for  vocal  works  generally  were  called 
symphonies. 

Symposiac.  Cheerful,  bright  com- 
positions such  as  glees  and  catches. 

Sympson.    SIMPSON. 

Synaplie.  Gr.  Conjunction  of  two 
tetrachords  in  GREEK  MUSIC. 

Synaulia.  Or.  Concert  of  .flute 
players,  playing  alternately. 

Syncopatio.     L.     SYNCOPATION. 

Syncopatioii  is  the  suspension  or 
alteration  of  rhythm  by  pushing  the 
accent  to  that  part  of  the  bar  not  usu- 
ally accented,  an  eflfect  often  employed 
to  advantage  by  Beethoven  and  other 
great  masters,  and  abused  in  American 
"  ragtime  "  or  cheap  music  for  cheaper 
ballads. 

Syncopiren.   Ger.  SYNCOPATION. 

Syren  or  Siren.  Instrument  for 
measuring  the  vibrations  of  sound 
invented  by  Cogniard  de  la  Tour  and 
improved  by  Helmholtz.  See  Tyndall's 
"  Lectures  on  Sound." 

Syrinx.     PAN  PIPES. 

Syrmen  or  Sirmen  (SCaddelena 
Lombardlni)  composed  many  works 
for  violin  and  was  in  early  life  a  most 
successful  virtuoso  on  that  instru- 
ment, which  she  later  abandoned  for 
opera,  but  failed  to  distinguish  herself 
as  a  singer ;  pupil  of  Tartini  and  of  the 
Venice  Conservatorio  dei  Mendicanti. 
B.  about  1735,  Venice;  m.  Ludovico 
Syrmen,  a  violinist;    d.  after  1785. 

Szopelka.  Russ.  Oboe  fifteen 
inches  in  length,  of  elder  wood,  having 
a  brass  mouthpiece  and  eight  large 
and  seven  small  finger  holes.  Popular 
in  Southern  Russia  and  Western  rep- 
resentative of  the  Eastern  ZURNA. 

Szumowska  (Antoinette)  played 
piano  in  tours  of  Europe  and  America 
with  great  success;  pupil  of  Strobel 
and  Michalowski,  Warsaw,  and  of 
Paderewski,  Paris.  B.  Feb.  22,  1868, 
Lublin,  Poland;  m.  JOSEF  ADAM- 
OWSKI,  add.  Boston. 

Szymano'TC'ska  (Marie)  composed 
24  mazourkas ;   played  piano  with  suc- 


cess in  the  principal  cities  of  Europe, 
but  is  chiefly  remembered  for  her  ar- 
dent love  affair  with  Goethe ;  pupil  of 
John  Field  in  Moscow.  B.  about  1790; 
d.  1831,  St.  Petersburg. 


T.  Abbreviation  for  TASTO, 
TENOR,  TUTTI. 

Ta,  Te,  Tee,  To.  Or.  Used  by  the 
Greeks  for  purposes  of  solmisation. 

Taballo.     It.    Kettle-DRUM. 

Tabarde  or  Tabarte.  Old  Eng. 
TABOR. 

Tabl.  Egyptian  DRUM 'made  of  a 
hollowed  block  of  wood  or  of  earthen- 
ware, with  a  skin  stretched  over  one 
eiid. 

Tablature.  Obsolete  form  of  musi- 
cal NOTATION,  appUed  with  certain 
modifications  to  various  instruments. 
Lute  Tablature  was  written  on  a  staff 
of  five  lines,  each  of  which  represented 
a  string  of  the  instrument,  and  in 
Italy  the  notes  to  be  stopped  were 
indicated  by  numbers,  and  in  England, 
France,  and  Germany  by  letters. 
Time  value  was  shown  by  stems  with 
tails  not  unlike  those  used  in  modern 
notation.  In  German  or  Organ  Tabla- 
ture, used  for  all  keyboard  instru- 
ments, the  melody  was  written  on  the 
staff,  and  vertical  rows  of  letters  un- 
derneath showed  the  accompaniment. 
Tablature  still  exists  for  Zither  music, 
was  well  adapted  to  the  instruments 
for  which  it  was  originally  devised, 
but  by  reason  of  its  very  adaptability 
to  so  many  instruments,  could  never 
be  of  practical  use  as  applied  to  all 
instruments  when  brought  together  in 
concerted  music.  The  bar,  the  tails  of 
notes,  and  the  vertical  character  of 
the  modern  score  are  all  derived  from 
Tablature. 

Tabl  el  Musahhir.  Drum  used 
during  the  Ramadan  by  the  Egyptian 
criers,  accompanying  the  religious  and 
congratulatory  sentences  uttered  be- 
fore the  houses  of  the  rich.  Sometimes 
called  the  Baz,  and  also  employed  by 
the  Dervishes  in  their  religious 
dances. 

Tab  Shamee.  Egyptian  driun  sus- 
pended from  the  neck  and  beaten  with 
two   sticks. 


TABLE  D'HARMONIE         657 

Table  d'Harmonie.  Fr.  Table  or 
diagram  of  chords;    sounding  board. 

Table  d'lnstrument.  Pr.  Belly 
of  instruments  of  the  violin  or  guitar 
type. 

Table      Husic.         Part-songs      an 


TAKT 


Savorini  sang  in  opera.  B.  1809, 
Forli;    m.  GIOVANNI. 

Tafelmusik.  Ger.  TABLE 
MUSIC. 

Taffanel  (Claude  Paul)  taught 
flute,  Paris  Conservatoire  from  1893 


printed  that  the  singers  at  opposite  and  conducted  Conservatoire  concerts, 

ends    of    a    table    could    read    them.  1892-1901,     also     conducted,     Paris 

Psalm  tunes  and  madrigals  were  often  Op6ra;    pupil  of  Doms  for  flute  and 

issued  in  this  form  during  the   17th  Eeber,  composition.    B.  Sept.  16, 1844, 


Century. 

Tabor.  Biblical  instrument  differ- 
ing from  the  tambourine  in  not  having 
the  jingles;  the  French  is,  and  old 
English  tabor  was,  suspended  from 
the  neck  and  beaten  with  a  stick  held 
in  the  rig;ht  hand  while  the  left  fln- 
gered  a  pipe,  often  being  used  to  ac- 
company the  MORRIS  DANCE. 

Taboret,  Tabouret,  Tabourin. 
Fr.     TABOR. 

Tabouret  (Jehan)  wrote  under  the 
pen  name  Thoinot  ARBEAU. 

Tabret.     TABOR,  TAMBOURINE. 

Taccbinardi  (Nicolo)  sang  ten.  in 
opera  with  great  success,  notably  in 
the  name  part  of  "  Don  Giovanni " 
(transposed  to  ten.),  although  hide- 
ously ugly  and  humpbacked,  debut 
1804,  Leghorn,  retired  after  1831  and 
taught  in  Florence;  in  early  life 
violinist.  B.  1772,  Florence;  d.  1859, 
Florence.  Fanny,  pupil  of  her  father 
NICOLO,  became  a  famous  artist  as 
Mme.  PERSIAN!.  Elisa,  second 
daughter  of  NICOLO  was  a  noted 
pianist. 

Tace,  Taciasii    It.    TACET. 

Tacet.  L.  "Be  silent."  Silenc- 
ing one  instrument  that  another  may 
be  more  clearly  heard  as  C.  B.  tacet, 
silencing  the  CONTRABASSO  that 
the  'cello  only  may  play  the  bass. 

Tact.     Ger.    TAKT. 

Tactus.  L.  Stroke  of  the  hand 
or  baton  in  beating  time,  in  mediaeval 
music  called  MAJOR  when  the  time 
consisted  of  a  BREVE  in  a  bar  and 
MINOR  when  it  was  a  SEMIBREVE. 

Tadolini  (Giovanni)  composed  "La 
Fata  Alcina,"  Venice,  1814;  "II 
Credulo  deluso "  and  other  operas, 
songs;  became  ehorusmaster  Theatre 
des  Italiens,  Paris,  at  18;  pupil  of 
Babini  and  Mattel.  B.  1793,  Bologna; 
d.  Nov.  29,  1872,  Bologna.     Eugenia 


Bordeaux;    add.  Paris. 

Tag  (Christian  Gotthilf )  composed 
and  taught  music.  B.  1735,  Bayer- 
field,  Saxony;    d.  1811,  Niederwonitz. 

Tagliaflco  (Joseph  BieudounS) 
sang  in  opera;  became  impresario  at 
Monte  Carlo  and  London  Italian  Opera, 
1877-82;  wrote  on  music;  pupil  of 
Piermiani  and  Lablanehe.  B.  Jan.  1, 
1821,  Tourlon;  retired  1882.  Mme. 
Cotti  sang  minor  rSles,  London  opera 
houses;    m.  JOSEPH  DIEUDONNE. 

Tagliana  (Emilia)  sang  sop.  in 
concerts  in  European  cities;  settled 
in  Vienna,  1873-77,  became  chamber 
singer  at  court  of  Berlin,  1881-82; 
pupil  of  Milan  Conservatory,  of  Lam- 
perti  and  Richter.  B.  1854,  Milan; 
add.  Berlin. 

Taglichsbeck  (Thomas)  composed 
a  symphony.  Op.  10,  the  opera 
"  Weber's  Bild,"  songs  and  chamber 
music;  played  violin;  pupil  of 
Rovelli  and  Gratz.  B.  1799,  Ansbach; 
d.  Oct.  5,  1867 ;    Baden  Baden. 

Taglioni  (Salvatore)  was  a  famous 
BALLET  master,  and  father  of  FER- 
DINANDO.  B.  1790;  d.  1868. 
Ferdinando  founded  a  choral  school; 
wrote  on  music;  composed  songs;  led 
and  conducted  San  Carlos  orchestra, 
Napiles.     B.  Sept.  14,  1810. 

Taille.  Fr.  TENOR  voice,  tenor 
part;    VIOLA. 

Tail  Piece  is  the  attachment  to 
which  the  lower  ends  of  the  strings 
are  fastened  in  an  instrument  of  the 
violin  family,  and  is  usually  of  ebony. 

Tails  are  attached  to  all  notes  used 
in  modern  NOTATION  except  whole 
notes. 

Takigoti,  Takigoto,  Japanese  dul- 
cimer with  movable  bridges  altering 
and  regulating  the  pitch,  played  with 
the  fingers  or  plectra. 

Takt.    Ger,    Time,  measure,  bar. 


42 


TALABALACCO 


658 


TAMEBLANO 


Talabalacco,  Moorish  drum. 

Talexy  (Adriend)  composed  a 
method  and  studies  for  the  piano, 
salon  pieces,  operettas  produced  in 
Paris.     B.  1820;    d.  1881,  Paris. 

Tallys  or  Tallis  (Thomas)  com- 
posed quantities  of  church  music  for 
the  Roman  Catholic  and  Anglican  li- 
turgies, and  hy  changing  his  faith  with 
that  of  his  sovereign,  served  Eng. 
Chapel  Royal  from  boyhood  until 
death,  except  for  the  period  he  played 
organ,  Waltham  Abbey,  from  the 
breaking  of  his  voice  until  1540,  when 
monastic  institutions  were  broken  up; 
called  the  "  father  of  English  Cathe- 
dral Music,"  and  compared  to  Pales- 
trina  for  his  skill  in  counterpoint. 
With  William  Byrd,  with  whom  he 
was  associated  in  the  Chapel  Royal, 
he  obtained  a  monopoly  of  music  paper 
and  printing,  1576,  and  issued  about 
half  of  his  own  works,  including  a 
song  for  eight  choirs  of  five  voices 
each,  and  his  Preces,  Responses,  and 
Litany.  His  later  compositions  show 
a  preference  for  Latin  religious  texts, 
from  which  it  is  assumed  that  he  re- 
turned to  the  religion  in  which  he  was 
born.  See  "  Full  Cathedral  Service  of 
Thomas  Tallis,"  Eimbault,  1847.  B. 
between  1520-29,  London;  d.  Nov.  23, 
1585,  London. 

Talon.    Fr.    Heel  of  a  bow. 

Tamagno  (Francesco)  sang  ten.  in 
opera  with  great  success,  and  in  1887 
created  the  name  part  in  Verdi's 
"Otello";  debut  at  La  Scala,  Milan, 
and  thereafter  appeared  with  success 
in  the  chief  opera  houses  of  Europe 
and  North  and  South  America.  B. 
1851,  Turin. 

Tamaro  (Jose)  sang  ten.,  and 
taught  in  New  York  from  1876 ;  pupil 
of  Lamperti.  B.  1824,  Barcelona;  d. 
Mar.  3,  1902,  New  York. 

Tamberlik  (Enrico)  sang  ten.  in 
opera,  range  to  c",  debut,  1841, 
Naples,  and  later  appearing  with  suc- 
cess in  all  parts  of  Europe  and 
America  in  such  rdles  as  "Cellini," 
"  Florestan,"  "  Manrico,"  "  Faust," 
the  Duke  in  "Rigoletto";  pupil  of 
Borgna  and  Guglielmi.  B.  Mar.  16, 
1820,  Rome;  d.  1889,  Paris. 

Tambour.    Fr.    Great  DRUM. 


Tamboura.  Instrument  of  the 
GUITAR  type,  having  strings  of  wire 
which  are  struck  with  a  plectrum;  a 
long  neck  and  a  gourd-shaped  body 
often  beautifully  ornamented;  found 
in  Persia,  Hindustan,  Turkey,  and 
Egypt;  known  to  the  Assyrians  and 
Egyptians  under  various  names,  the 
latter  calling  it  nofre,  or  nefer,  said 
to  be  synonymous  with  nebel,  the 
Hebrew  word  for  stringed  instrument. 

Tambour  de  Basque.  Pr.  TABOR 
with  jingles,  TAMBOURINE. 

Tambourin.  Fr.  Stage  dance  of 
lively  time,  popular  in  France,  accom- 
panied by  a  pedal  bass  imitating  the 
drone  caused  by  rubbing  thumb  over 
the  skin  of  a  tambourine;  movement 
in  a  suite. 

Tambourine,  Tambour  de  Basque, 
Timbrel.  Fr.  Instrument  of  the 
DRUM  class  used  by  all  Europeans, 
especially  those  in  the  South;  em- 
ployed by  the  Biscayan  and  Italian 
peasants  at  festivals;  made  of  a 
wooden  or  metal  hoop  over  which  a 
piece  of  parchment  or  skin  is  stretched ; 
holes  are  made  in  the. sides  of  the  hoop, 
and  pieces  of  metal  or  jingles  inserted 
and  sometimes  little  bells  are  fastened 
to  the  outer  edge  of  the  hoops.  It  is 
sounded  by  striking  with  the  knuckles 
or  drawing  the  fingers  or.  thumb  over 
the  skin. 

Tambourineur.  Fr.  Drum  or  tam- 
bourine player. 

Tambourini  (Antonio)  sang  bar. 
in  opera,  possessing  aVoice  of  remark- 
able flexibility  with  compass,  of  two 
octaves.  Son  and  pupil  of  a  band- 
master, he  played  in  the  Fossombrone 
band  at  nine,  sang  in  church  and  opera 
chorus  at  12,  and  was  engaged  for  the 
Bologna  opera  at  18;  pupil  also  of 
Boni  and  Asioli ;  knight  of  the  Order 
of  the  Saviour.  B.  Mar.  28,  1800, 
Faenza;  d.  Nov.  9,  1876,  Nice. 

Tambour  Kajor.   Fr.  Drum  major. 

Tambourino.     It.    Drummer. 

Tambouro.    It.    DRUM. 

Tamburone.     /*.    Great  DRUM. 

Tamerlano.  Piovene's  opera  book 
received  14  settings.  That  of  George 
Frederic  Handel  was  performed  Oct. 
31,  1724,  at  the  King's  Theatre, 
London. 


TAMING  OF  THE  SHREW     659  TANNHATTSEB 

GoTte^'i.hrP°p'3®  ^^''^'^:    Hermann  of  spring,  interrupting  his  song  with' 

J  V  Widmn^«  K     ?'™'ov°,  ^°°^   ^y  ™'**''  ^''«  played  upon  the  pipe,  un- 

piav   wis    fir^f     'i°''^5^^for„^'''^  *"    ^'^"^    "«««   i"!    tlie   distance   the 

MannS    rpl  f  S*"™!"^'    ^^^^'    ?*  ''^^'^*  °*  *  P^'-ty  «*  Flg"m8  on  their 

various  ^'or^f*^*^.-^'*^-  '"^'^'^  '"  ^^^  *°  I^"'"^-    ^he  pricession  draws 

1878    o^^  ■   T°    *"**''?'    '"^    London,  near,  crosses  the  path  of  the  minstrel 

1S8B    ww".?"^-  T''°"'  ?^^  Y"'"'^'  '™'&l»t'  «■»<!  as  it  recedes  into  thedis- 

Panl'i  J  TMn       "^^*  was  headed  by  tance,  he  sinks  to  his  knees  in  prayer, 

fnd  W?lI,?^,™'^"T^"f  .r</;5?*'l?™f  "  Then  hunting  horns  are  heard,^anJ  in 


and  William  H.  Lee  as  "  Petruohio." 
Tam-tam.    Fr.    GONG. 


a  moment,  Tafinhauser  is  surrounded 
by  his  former  friends  and  associates, 


«„=,„  +    iT   1    u  •  ^-  I^°S8mi's  two-act    Wolfram    von    Eschenbach,    Walther 
opera  to  book  by  Eossi,  based  on  Vol-    von  der  Vogelweide,  Biterolf,  and 


taire,  was  first  performed  Feb.  6,  1813, 
at  La  Fenice,  Venice.    "  Di  tanti  pal 


the   presence  of  his  lord,   the  Land- 
grave.   They  greet  him  cordially,  and 


piti,    sop.  ana,  is  its  most  remarkable    invite  him  to  return  to  the  Wartburg, 


number. 

Tandelnd.    Ger.    In  playful  style. 
TanejefE    (Sergei)    composed    the 


but  Tannhauser,  feeling  his  unworthi- 
ness,  refuses  until  Wolfram  hints  that 
Elizabeth   will    be   glad   to   see   him 


three-act  opera  "  Oresteia,"  St.  Peters-  again.  Then  he  accepts  in  a  sudden 
burg,  1895 ;  taught  theory  and  compo-  burst  of  enthusiasm,  and  the  act  con- 
sition,  Moscow  Conservatory;  pupil  of  eludes  with  a  splendid  septet.  The 
N.  Rubinstein  and  Tschaikowsky.  B.  second  act  takes  place  in  the  Hall  of 
Nov.  13,  1856,  Russia;  add.  St.  Song  of  Wartburg.  After  a  love 
Petersburg.  scene  between  Tannhauser  and  Eliza- 

Tangente.     Ger.     Striking  pin  of   beth,    the    guests    assemble,    for    the 
a  darichord.  Landgrave  has  called  the  Minnesing- 

Tanuhauser.  Richard  Wagner's  ers  together  for  a  contest  of  song, 
three-act  romantic  opera  to  his  own  Wolfram  opens  the  contest,  but  when 
book  was  first  performed  Oct.  20,  Tannhauser's  turn  comes,  he  sings 
1845,  at  the  Dresden  Royal  Opera  not  the  pure  emotion  which  the 
House.  Tannhauser,  a  minstrel  Minnesingers  have  idealized,  but  the 
knight  attached  to  the  court  of  the  sensual  joys  he  has  tasted  in  Venus- 
Landgrave  of  Thuringia,  has  fallen  berg.  The  women  hurriedly  leave  the 
victim  to  the  wiles  of  Holda,  or  Hall.  At  Tannhauser's  confession  that 
Venus,  and  the  first  act  opens  in  the  he  has  been  favoured  of  Holda,  the  men 
caverns  of  the  Venusberg,  which  this  would  kill  him,  but  he  is  rescued  by 
goddess  inhabits.  Tannhauser  sleeps,  Elizabeth,  who  begs  that  he  may  have 
watched  over  by  Venus,  who  evokes  time  to  repent  of  his  sins.  Moved  by 
voluptuous  visions  to  please  her  her  sorrow,  Tannhauser  already  re- 
lover,  but  Tannhauser,  on  awaken-  pents  his  rashness,  and  agrees  to 
ing,  remembers  the  sunlight,  the  blue  make  the  pilgrimage  to  Rome,  there 
sigr,  and  the  forests  of  the  upper  to  beg_  forgiveness  of  the  Pope.  For 
world,  and  begs  permission  to  see  the  third  act  the  setting  is  that  of  the 
them  once  more.  Neither  threats  nor  valley  below  the  Wartburg.  Eliza- 
entreaties  move  him.  He  will  always  beth  kneels  before  a  shrine,  praying 
champion  and  sing  the  praise  of  for  Tannhauser's  return.  The  song 
Venus,  but  not  in  her,  goddess  of  joy,  of  the  pilg.rims  is  heard,  and  as  they 
rests  his  salvation,  "but  in  the  Virgin  pass  before  the  shrine  with  uncovered 
Mary."  At  the  utterance  of  the  sacred  heads,  Elizabeth  vainly  seeks  her 
name,  Venus  and  her  attendants  lover  among  them.  Wolfram,  who  has 
vanish,  and  instead  of  the  caverns  of  been  watching  over  her  safety  from 
the  Venusberg,  Tannhauser  finds  him-  a  distance,  offers  to  escort  Elizabeth 
self  alone  in  a  peaceful  valley  under  back  to  the  castle,  but  she  declines 
the  shadows  of  the  Wartburg.  A  with  a  gesture  which  signifies  the 
shepherd  sings  of  Venus  and  the  joys   depths  of  her  sorrow,  and  Wolfram, 


TANNHATTSEB 


660 


TARTINI 


left  alone,  sings  his  hopeless  love  of 
Elizabeth  to  the  Evening  Star.  The 
twilight  deepens.  Wolfram  is  about 
to  depart,  when  Tannhauser,  worn 
with  sorrow  and  fatigue,  comes  slowly 
up  the  path  the  pilgrims  had  trav- 
ersed. Replying  to  Wolfram's  ques- 
tions, Tannhauser  tells  the  story  of 
his  pilgrimage,  and  how  the  Pope  de- 
clared there  was  no  more  hope  for 
Tannhauser's  forgiveness  than  there 
was  that  his  staff  should  put  forth 
new  buds.  In  his  despair  Tannhauser 
is  seeking  the  entrance  to  Venusberg. 
As  he  speaks  the  rocks  open,  disclos- 
ing a  vision  of  Venus  and  her 
nymphs.  Tannhauser,  hearing  the 
goddess  pronounce  his  welcome,  is 
about  to  fly  to  her,  when  Wolfram 
utters  the  name  Elizabeth.  The 
vision  disappears,  and  a  chorus  of 
monks  is  heard  chanting  a  dirge,  and 
as  the  dawn  breaks,  a,  procession  files 
slowly  down  from  the  Wartburg, 
bearing  the  body  of  Elizabeth  on  an 
open  bier.  Tannhauser  falls  dead 
after  uttering  the  words  "  Saint 
Elizabeth,  pray  for  me,"  and  a  mo- 
ment later,  a  fresh  band  of  pilgrims 
enter,  bringing  from  Rome  the  Pope's 
staff,  which  has  blossomed  in  token 
of  Tannhauser's  redemption  through 
love.  The  original  cast  consisted  of: 
Tannhauser,  Titchatschek,  ten.;  Wolf- 
ram, Mitterwurzer,  bar.;  Walther, 
Schloss,  ten. ;  Beterolf ,  Wachter,  bar. ; 
Heinrich  der  Schreiber,  ten.;  Rein- 
mar  von  Zweter,  bass;  the  Landgrave, 
bass;  Elizabeth,  Frl.  Wagner,  sop.; 
Venus,  Mme.  Schriider-Devrient,  sop. ; 
the  Shepherd,  sop.  The  opera  is  intro- 
duced by  an  overture  which  is  at  once 
the  greatest  and  most  popular  work 
in  this  form  in  existence.  The  prin- 
cipal musical  numbers  are:  the 
Venusberg  music  with  a,  bacchanale 
known  as  the  "  Parisian "  from  the 
fact  that  it  was  composed  in  Paris 
after  the  completion  of.  the  opera; 
the  dialogue  beginning  with  Tann- 
hauser's "  Doch  sterblich,  ach,"  Tann- 
hauser and  Venus ;  "  Frau  Holda  kam 
aus  dem  Berg  hervor,"  the  Shepherd; 
"  Zu  dir  wall'  ich,  mein  Herr  und 
Gott"  (Pilgrim's  Chorus),  "Ach! 
schwerdrucht  michder  SundenLast," 


Tannhauser;  Act  II.  "Dich  theure 
Halle,"  Elizabeth;  "  Freudig  begrUs- 
sen  wir  die  edle  Halle,"  grand  march 
and  chorus ;  "  O  Himm'el  lasst  jetzt 
erflehen,"  Wolfram ;  "  Zuruck  von 
ihm,"  Elizabeth;  Act  III.  "  Wohl 
wusst'  ich  hier  sie  im  Giebet  zu  fin- 
den,"  Wolfram ;  "  Allmacht'  ge  Jung- 
frau,  hor  mein  Flehen,"  Elizabeth; 
"Ach  du  mein  Holder  Abendstern," 
(Evening  Star  Song),  Wolfram;  Tann- 
hauser's Narrative;  "The  Pilgrim's 
Chorus." 

Tansur  (William)  edited  collec- 
tions of  psalms ;  wrote  on  music,  1737- 
72;  played  organ,  English  churches. 
B.  1699,  Surrey;  d.  Oct.  7,  1783. 

Tanto.  It.  So  much,  as  much;  as 
Allegro  non,  not  so  fast. 

Tanz.    Ger.    Dance. 

Tappert  (William)  wrote  on  theory 
and  a  "  Wagner  Lexicon,"  1877,  con- 
taining collection  of  adverse  criticism; 
was  himself  Wagner  enthusiast; 
taught  and  edited  musical  publica- 
tions, Berlin  from  1866;  pupil  Dehn 
and  Kullak.    B.  Feb.  19,  1830. 

Tarantella.  /*.  Rapid  Neapoli- 
tan dance  in  triplets,  so  named  because 
popularly  believed  to  be  a  remedy  for 
the  bite  of  the  poisonous  tarantula 
spider. 

Tarare.  Antonio  Salieri's  opera  to 
book  by  Beaumarchais  was  first  per- 
formed June  8,  1787,  at  the  Paris 
Op€ra. 

Tarchi  (AngQlo)  composed  operas, 
etc.    B.  1760,  Naples;  d.  1814,  Paris. 

Tardamente.    /*.    Slowly. 

Tardano.    It.    Retarding. 

Tardo.    It.    Dragging,  slow. 

Tartini  (Giuseppe)  composed  the 
famous  violin  sonata  "  II  Trillo  del 
Diavolo,"  which  he  affected  to  have 
reproduced  from  the  recollection  of  a 
dream  in  which  the  Devil  had  played 
for  him;  in  all  50  sonatas  for  violin 
with  bass,  and  200  violin  concertos,  a 
Miserere;  discovered  the  resultant 
tones  produced  by  double-stopping,  and 
applied  this  knowledge  to  perfecting 
intonation;  wrote  theoretical  works, 
including  a  treatise  on  agr€mens  which 
exists  in  French  translation;  was  an 
excellent  teacher  and  the  foremost  vio- 
linist of  his  time.    At  first  a  student 


TARTINI'S  TONES 


661 


TAVEKNEB, 


for  the  priesthood,  he  turned  hia  atten- 
tion to  law  at  18,  but  a  secret  marriage 
with  the  niece  of  the  Cardinal  Arch- 
bishop of  Padua,  Mgr.  Conaro,  so  in- 
censed that  Prince  of  the  Church  that 
Tartini  went  into  hiding,  and  for  two 
years  lived  in  the  Franciscan  monas- 
tery of  Assisi,  where  he  received  les- 
sons from  Padre  Boeme,  the  organist, 
and  taught  himself  to  play  violin. 
The  Cardinal  had  relented  by  this  time, 
and  Tartini  was  permitted  to  rejoin 
his  wife,  and,  on  settling  in  Venice, 
took  lessons  from  Veracini,  and  then 
spent  some  time  in  seclusion,  perfect- 
ing his  art.  In  1721  he  was  violinist 
at  San  Antonio's,  Padua.  Two  years 
later  he  became  chapelmaster  to  Count 
Kinsky,  in  Prague,  but  in  1728  again 
settled  in  Padua,  where  he  founded  a 
violin  school,  and  declined  many 
tempting  offers  to  visit  other  cities. 
B.  April  8,  1692,  Pirano,  Istria;  d. 
Feb.  16,  1770,  Padua. 

Tartini's  Tones.  RESULTANT 
TONES. 

Taskin.  (Pascal)  made  harpsichords 
and  spinets  in  Paris,  in  which  he  sub- 
stituted leather  for  the  quills  with 
which  the  jacks  were  equipped;  made 
the  first  French  piano  shaped  like  a 
modem  grand.  B.  1723,  Theux,  Liege; 
d.  1795,  Paris.  Pascal  Joseph,  became 
keeper  of  instruments  in  the  French 
Chapel  Royal,  1772,  on  the  recom- 
mendation of  his  uncle,  PASCAL, 
whose  pupil  and  assistant  he  had  been. 
B.  Nov.  20,  1750;  d.  Feb.  5,  1829. 
Henri  Joseph  composed  chamber 
music;  taught;  pupil  of  his  aunt, 
Mme.  Couperin.  B.  Aug.  24, 1779,  Ver- 
sailles; son  of  PASCAL  JOSEPH; 
d.  May  4,  1852,  Paris.  Emile  Alex- 
andre sang  bar.  at  Paris  Op6ra  Com- 
ique.  B.  Mar.  8,  1853,  grandson  of 
HENRI  JOSEPH;   d.  1897,  Paris. 

Tastame,  Tastatura,  Tastiera.  /*. 
Keyboard  of  piano  or  organ;  hand 
guide. 

Tastenleiter,  Tastenbrett.  Oer. 
Keyboard  of  piano  or  organ;  hand 
guide. 

Tasto.  /*.  Key  or  touch  of  piano 
or  organ. 

Tasto  Solo.  It.  Play  the  part 
without  accompanying  chords,  but  in 
unison  or  octaves. 


Tatto.    It.    Touch. 

Tattoo,  Taptoo.  Night  drum  beat 
calling  soldiers  to  their  quarters. 

Taubert  (Karl  Gottfried  Wil- 
helm)  composed  "  Macbeth,"  Nov.  16, 
1857,  Berlin,  and  in  all  seven  operas, 
294  songs  for  single  voice,  three  sym- 
phonies, incidental  music  to  "The 
Tempest,"  etc. ;  court  chapelmaster  at 
Berlin;  pupil  of  Berger  and  Klein. 
B.  Mar.  23,  1811,  Berlin;  d.  1891, 
Berlin. 

Taubert  (Otto)  composed;  wrote 
on  theory;  was  cantor  and  teacher 
at  Torgua;  pupil  of  Claudius.  B. 
June  26,  1833,  Naumburg. 

Taudou  (Antoine  Barthelemy) 
composed  violin  concerto,  string  qiiar- 
tet  in  B  minor  and  other  chamber 
music;  taught  harmony,  Paris  Con- 
servatoire, where  he  had  studied  violin, 
and  in  1869  captured  the  prix  de  Rome 
with  his  cantata  "  Francesca  da  Rim- 
ini." B.  Aug.  24,  1846,  Perpignan; 
add.  Paris. 

Tausch  (Julius)  composed  fest 
overture,  music  to  "Twelfth  Night"; 
songs;  played  piano;  taught  and  con- 
ducted at  Dusseldorf;  pupil  Leipsic 
Conservatory.  B.  April  15,  1827;  d. 
1895,  Bonn. 

Tausig  (Aloys)  taught  piano  in 
Warsaw;  pupil  of  Thalberg.  B.*1820; 
d.  1885.  Karl  was  one  of  the  foremost 
piano  virtuosi  and  teachers;  fpunded 
a  notable  piano  school  in  Berlin  and 
gave  Chopin  recitals ;  made  numerous 
transcriptions  and  composed  "  Deux 
Etudes  de  Concert";  pupil  of  his 
father,  ALOYS,  and  then  of  Liszt  at 
Weimar;  conducted  concerts  in  Dres- 
den and  Vienna,  settling  in  Berlin, 
1856.  B.  Nov.  4,  1841,  Warsaw;  d. 
July  17,  1871,  Leipsic. 

Tauwitz  (Eduard)  composed  three 
operas  and,  in  all,  more  than  1000 
works;  conducted.  B.  1812,  Glatz, 
Silesia;    d.  1894,  Prague. 

Taverner  (John)  composed  church 
music;  organist  at  Boston,  Eng.,  and 
afterwards,  1530,  at  Christ  Church, 
Oxford. 

Taverner  (Bev.  John)  was  pro- 
fessor of  music,  Gresham  College,  Ox- 
ford, 1610;  became  rector  of  Stoke- 
Newington.  B.  1584,  Norfolk;  d. 
1638,  Stoke-Newington. 


TAYLOR 


663 


TEMPERAMENT 


Taylor  (Edward)  sang  bass,  wrote 
on  music,  conducted  Norwich  Festi- 
vals, 1839  end  1842,  composed;  became 
professor  of  music,  Gresham  College, 
Oxford,  1837.  B.  Norwich,  Jan.  22, 
1784;  d.  Mar.  12,  1863,  Brentwood, 
Eng. 

Taylor  (Eranklin)  played  and 
taught  piano,  Royal  Academy  of 
Music,  and  there  wrote  a  "  Primer  of 
the  Pianoforte";  wrote  and  trans- 
lated works  on  music;  pupil  the 
Leipsic  Conservatory,  and  later  of 
Clara  Wieck  Schumann.  B.  Feb.  6, 
1843,  Birmingham;    add.  London. 

Tche,  Tsang.    Chinese  instrument, 
wire  strung,  tuned  by  pegs  and  move- 
able   bridges    and    played    with    the 
fingers. 
_  Teatro.     It.    Theatre. 

Tebaldini  (Giovanni)  composed 
the  opera  "  Fantasia  Araba,"  a  Re- 
quiem (with  Bossi)  wrote  an  organ 
method,  criticism;  became  master  of 
the  Schola  Cantorum  of  San  Marco, 
Venice,  and,  in  1894,  of  the  Padua 
Cathedral;  pupil  of  Milan  Conserva- 
tory, but  was  expelled  for  adverse  com- 
ment on  the  work  of  a  professor  there ; 
in  early  life  organist  Brescia  Cathedral 
and  chorusmaster  of  the  theatre. 
B.  1864,  Brescia;    add.  Padua. 

Technik.  Ger.  Resources,  systems 
and  devices  of  musical  art. 

Tedesca,  Alia.  It.  In  Gferman 
style. 

Te  Deum  Laudamus.  Lot.  "We 
Praise  Thee,  O  God."  Hymn  probably 
written  and  composed  by  St.  AM- 
BROSE of  Milan,  and  one  of  the  most 
important  in  the  liturgies  of  the  his- 
toric churches.  Felice  Anerio's  poly- 
phonic setting  of  the  original  plain 
song  melody  is  among  the  most  impor- 
tant of  the  thousands  to  the  Latin 
text,  and  of  the  translation  used  in 
the  Anglican  and  Evangelical  English 
churches  those  of  Purcell  and  Handel, 
(The  Dettingen)  are  the  most  cele- 
brated. The  Te  Deum  is  sung  not  only 
at  the  chief  festivals  of  the  church, 
but  on  other  special  occasions  of  re- 
joicing as  well. 

Telemann  (George  Philip)  com- 
posed 40  operas,  600  overtures,  12 
complete   services  for  the  year.  Pas- 


sions, and  other  works  in  all  forms; 
was  among  the  most  prolific  and 
superficial  of  all  composers,  highly 
esteemed  by  contemporaries,  and  now 
almost  forgotten;  was  chapelmaster 
to  various  princes,  and  from  1721  can- 
tor of  the  Johanneum  in  Hamburg  and 
church  chapelmaster;  pupil  of  LuUi 
and  Campra.  B.  Mar.  14, 1681,  Madge- 
burg;  d.  June  25,  1767,  Hamburg. 
See  autobiography. 

Tellefsen  (Thomas  Dyke  Acland) 
edited  works  of  Chopin,  whose  pupil 
he  was;  composed  and  played  in  con- 
cert tours.  B.  Nov.  26,  1823,  Dronth- 
jem;    d.  1874,  Paris. 

Tell-tale.  Movable  piece  of  metal 
or  bone  attached  to  the  bellows  of  an 
ORGAN  by  a  cord,  giving  notice  to 
the  player  of  the  amount  of  wind  they 
contain. 

Tema.    /*.    Theme,  melody. 

Temperament,  Equal,  divides  the 
octave  into  twelve  semitones,  none  of 
which  is  perfect,  but  all  of  which  are 
accurate  enough  to  satisfy  the  eat. 
Although  on  modern  keyboard  instru- 
ments a  sharp  and  b  flat,  for  example, 
are  one  and  the  same  tone,  produced 
by  striking  the  same  black  key,  there 
is  a  mathematical  discrepancy  between 
them,  and  to  produce  a  keyboard  in- 
strument with  JUST  INTONATION 
would  require  a  keyboard  of  53  keys 
to  the  octave  instead  of  the  12  now 
employed.  Such  keyboards  were  actu- 
allv  made,  and  are  illustrated  in 
Kircher's  "  MUSURGIA,"  but  were  so 
inconvenient  that  they  were  aban- 
doned, being  replaced  by  tuning  in 
Unequal  Temperament  in  which  the 
scale  of  C  was  made  perfectly  true 
to  the  imperfection  of  the  rest.  Twelve 
perfect  fifths  and  seven  octaves  tuned 
up  from  a  fixed  tone  give  a  disqrepancy 
or  COMA,  which  is  represented'  by 
80:81.0915,  and  in  Equal  Tempera- 
ment this  coma  is  apportioned  through- 
out the  fifths.  This  compromise  car- 
ried throughout  the  scale  made  all  the 
keys  equally  available,  as  Bach  proved 
in  his  Woltemperirtes  Clavier,  the 
result  being  the  greatest  convenience, 
although  the  only  perfect  intervals  re- 
maining are  the  octaves.  One  of  the 
difSculties  of  adapting  orchestral  in- 


TEIIPEST 


663 


TENOB 


struments  to  Equal  Temperament  lies 
in  the  fact  that  the  brasses  produce 
their  notes  mostly  as  harmonics  of  the 
fundamental  tone  of  the  instrument, 
and  that  it  is  the  natural  instinct  of 
every  player  of  the  string  section  to 
produce  tones  in  just  intonation.  It 
is  therefore  practically  impossible  to 
reduce  all  the  instruments  of  the  or- 
chestra to  this  system,  and  to  eliminate 
the  beats  which  are  the  natural  con- 
sequence of  dissonant  tones.  Besides 
the  viols,  the  trombones  are  capable  of, 
and  usually  play,  in  just  intonation, 
and  singers  whose  sense  of  pitch  is  at 
all  acute  are  sure  to  follow  the  same 
rule.  Of  course  the  pure  chords  which 
are  produced  in  the  string  quartet  and 
in  a  capella  singing  are  impossible  in 
a  system  of  tuning  by  which  perfect 
consonances  are  wholly  abolished  in 
music  for  keyed  instruments.  A  com- 
parison of  the  chords  produced  by  a 
string  quartet  and  by  a  piano  will  re- 
veal more  strikingly  than  any  mathe- 
matical table  the  diflFerence  between 
Equal  and  Just  Temperament,  but 
since  every  system  of  intervals  is  a 
matter  of  convention,  there  will  doubt- 
less come  a  time  when  the  sense  of 
hearing  will  have  become  so  accustomed 
to  the  compromise  scale  that  the 
theoretically  perfect  consonances  of 
Just  Intonation  will  seem  dissonances. 

Tempest.  Sir  Arthur  Sullivan's 
incidental  music  to  l^hakespeare's 
play,  consisting  of  12  numbers,  was 
first  performed  April  5,  1862,  at  the 
Crystal  Palace,  London. 

Tempesta.  J.  F.  F.  E.  Halgvy's 
two-act  opera  to  book  by  Scribe  based 
on  Shakespeare's  "  The  Tempest,"  was 
first  performed  June  8,  1850,  at  Her 
Majesty's  Theatre,  London,  in  an 
Italian  version. 

Tempestosamente.  It.  Furi- 
ously, impetuously. 

Tempestoso.  It.  Agitated,  tem- 
pestuous. 

TempSte.  Fr.  Parisian  dance  in- 
vented and  similar  to  the  quadrille, 
but  without  side  couples.  The  step  is 
the  same,  varied  by  the  introduction  of 
the  galop. 

Temple  (Hope)  composed  popular 
songs  and  the  operetta  "  The  Wooden 


Spoon";  pupil  of  J.  F.  Bamett  and 
E.  Silas,  London,  and  of  A.  MES- 
SAGER,  whom  she  married.  B.  Lon- 
don. 

Templeton  (John)  sang  ten.,  debut 
in  London,  1831,  and  from  1833  with 
Mme.  Malibran  until  the  end  of  her 
career;  toured  America,  1846.  B. 
July  30,  1802,  Riccarton,  Eibnamock; 
d.  1886,  near  London. 

Tempo.    It.  ■  Time  or  measure. 

Tempo  wie  Vorher.  Ger.  "  Time 
as  before." 

Temps,  Terns.  Fr.  Time,  or  the 
parts  or  divisions  of  a  bar. 

Ten.  Abbreviation  of  TENOR, 
TENUTO. 

Tendrement.  Fr.  Gfently,  daintily, 
tenderly. 

Tenducci  (Olusto  Ferdinaudo) 
sang  sopranist  rdles  in  London  from 
1758  to  1791;  wrote  a  treatise  on 
singing;  composed  an  overture.  B. 
1736,  Sienna,  and  hence  called  "  Sene- 
sino";   d.  Italy  about  1700. 

Tenebrae  Factae  Sunt.  Lat. 
"  There  was  darkness,"  the  opening 
words  of  the  responsorium  which  fol- 
lows the  fifth  lesson  on  Good  Friday, 
and  gives  the  name  Tenebrae  to  the  spe- 
cial appointed  service  in  the  Roman 
Breviary  for  Wednesday,  Thursday, 
and  Friday  of  Holy  Week,  when  the 
combined  Matins  and  Lauds  for  Thurs- 
day, Friday  and  Saturday,  are  sung  by 
anticipation.  The  psalms  and  anti- 
phons  for  this  service  are  sung  in  uni- 
son to  a  Gregorian  plain  song,  and,  as 
the  ritual  advances,  the  al^tr  lights 
are  extinguished  one  by  one.  The  LA- 
MENTATIONS and  the  MISERERE 
are  the  most  important  parts  of  this 
solemn  service  from  the  musician's 
point  of  view. 

Tenendo  11  Canto.  It.  Sustaining 
the  melody. 

Teneramente.  7*.  Tenderly, 
daintily. 

Tenerezza.  Con.,  It.  With  ten- 
derness, delicacy. 

Tenero.  /*.  Delicate,  tender,  care- 
ful.     . 

Tenete.    It.    Hold,  sustain. 

Tenor.  The  highest  of  the  natural 
male  voices,  having  an  extreme  range 
of  c  to  a"     The  name  ia  said  to  be 


TENOBE 


664 


TESl-TRAMONTINl 


derived  from  the  Latin  "teneo"  (I 
hold),  from  the  fact  that  the  principal 
part  in  polyphonic  composition  was 
assigned  to  this  voice.  Music  for 
tenor  was  formerly  written  exclus- 
ively on  the  tenor  clef,  but  in  mod- 
ern NOTATION  it  is  often  written 
on  the  G  Clef,  in  which  case  it  sounds 
an  octave  lower  than  it  appears.  A 
falsetto  development  about  equal  to 
the  alto  in  register  is  called  COUNTER 
TENOR.  The  VIOLA  and  other  in- 
struments of  corresponding  compass 
are  often  called  Tenor.  Tenor  C  is  c. 
The  lowest  string  of  the  Viola  is  called 
the  Tenor  string. 

Tenore.  It.  "  Tenor."  There  are 
infinite  varieties  of  this  voice  accord- 
ing to  Italian  nomenclature,  among 
which  may  be  mentioned  Bobusto,  a 
low  voice  of  great  power  and  baritonal 
character;  di  Forza,  of  great  force; 
di  mezzo  Carattere,  of  Middle  char- 
acter; di  Grazia,  of  light  and  grace- 
ful quality,  and  Leggiero  or  Contral- 
tino,  of  high  and  flexible  quality. 

Teuorist.  One  singing  the  tenor 
rSle  or  playing  a  tenor  violin. 

Tenoroon.  Old  tenor  oboe  with  a 
compass  extending  downwards  to 
tenor  c;  hautboy  is  organ  stop  which 
does  not  go  below  tenor  c. 

Tenorposaune.  Oer.  Tenor  TROM- 
BONE. 

Tenorschliissel.  <?er.  Tenor 
CLEF. 

Tenor  Trombone.  TROMBONE 
having  tenor  compass  of  two  octaves 
and  a  fifth. 

Tenor  Violin.    VIOLA. 

Tenorzeecben.     Ber.    Tenor  CLEF. 

Tenth.  Compound  interval  of  an 
octave  and  a  third;  ten  tones  or  nine 
conjoint  degrees;  the  octave  of  the 
third,  either  major  or  minor,  dimin- 
ished or  augmented;  ORGAN  stop, 
tuned  a  tenth  above  the  diapasons, 

Tenu.     Fr.     Sustained. 

Tenuto.    It.    Held  on,  sustained. 

Teorbo.     It.     THEORBO. 

Teoria.    /*.    THEORY. 

Tepidamente.  It.  In  an  indiffer- 
ent manner. 

Tepidita.     It.     Indifference. 

Ter.     L.     Thrice. 

Tercet.     Fr.    TRIPLET. 


Ternary  Form.    RONDO  form. 

Ternary  Measure.  Triple  or  per 
feet  time  in  NOTATION. 

Ternina  (Milka)  sang  sop.  ii 
opera,  with  especial  success  in  Wag 
nerian  r31es;  debut  at  Leipsic,  1883 
court  singer  at  Munich,  1890,  an( 
thereafter  engaged  at  Covent  Oiardei 
Metropolitan  Opera  House,  New  York 
where  she  created  "Kundry"  ii 
"  Parsifal,"  and  Bayreuth ;  pupil  o: 
Gansbacher.  B.  Dec.  19,  1864,  Begisae 
Croatia;    add.  New  York. 

Terpodion.  Instrument  resemblinj 
the  piano  invented  by  David  Buseh 
mann,  Hamburg,  1816.  Blocks  of  wooc 
struck  with  hammers  produced  thf 
tone;  there  was  also  a  contrivance  bj 
which  the  sound  could  be  increasec 
or  diminished. 

Tertia.     L.    TIERCE. 

Tertian.  Organ  stop  made  up  ol 
two  ranks  of  pipes  sounding  a  majoi 
third  and  fifth  of  the  foundation  pipes 
in  the  third  octave  above;  Tierce  and 
Larigot  on  one  slider. 

Ter  TJnea.  L.  Thrice  hooked; 
demisemiquaver  or  32d  note  in  NOTA- 
TION. 

Terz.     Ger.     TIERCE. 

Terza.     /*.     Third. 

Terzdecime.     Qer.     Thirteenth. 

Terzdecimole.  &er.  Thirteei 
notes  to  be  performed  in  the  time  oi 
eight  or  twelve. 

Terzettino.  It.  Brief  compositioi 
for  three  performers. 

Terzetto.  It.  Composition  foi 
three  performers. 

Terzflote.  Ger.  Flute  sounding 
a  third  above  the  written  notes ;  organ 
stop. 

Terzina.     It.    TRIPLET. 

Terzo  Mano.  It.  "Third  hand." 
Octave  coupler  on  Italian  organs. 

Terzquartakkord.  Ger.  "  4r-3  oi 
6-4^3-"  chord,  which  is  the  second  in- 
version of  the  chord  of  the  dominant 
seventh. 

Terzquartsextakkord.  Ger.  TERZ- 
QUARTAKKORD. 

Terzquintsextakkord.  Ger.  6-5-3- 
chord,  or  the  first  inversion  of  the 
dominant  seventh,  figured  6-5. 

Tesi-Tramontini  (Vittoria)  sang 
con.  in  opera,  possessing  voice  of  bari- 


TESSARIN  665  THAIS 

SJwi*^V^''"^ '^'f  ?■  S^?.**  **^°"*^  ^"*  performed,   1894,   at   the   Paris 

hnt^?  A^    •"*^y,.*,'J?  *"  Vienna;    de-  Op6ra    Comique.      Athanael    has    re- 

Dut  at  Venice,   1719;    pupil  of  Redi  nounced  the  luxuries  of  Alexandria  to 

and    Campeggi.      B.    1690,    Florence;  become    a   eenobite   or   monk   of   the 

■™'„;  .     _  ^  desert.     Twelve  of  the  brethren,  pre- 

iessarmQi-rancesco)  composed  the  sided   over  by   Palemon,   are   taking 

lera     ^  Ultimo  Abencerragio,"  Ven-  their  evening  meal  by  the  banks  of 


opera 

ice,  1858,  a  cantata,  songs,  etc^ 
played  and  taught  piano;  pupil  of 
Fanno  and  G.  B.  Ferrari.  B.  Dec.  3, 
1820,  Venice. 

Tessarini  (Carlo)  played  violin; 
composed  and  wrote  on  music.  B. 
1690,  Rimini. 

Testo.  It.  Theme  of  a  composi- 
tion; libretto  of  an  opera;  words  of 
a  song. 

Testore  (Carlo  Giuseppe)  made 
violins  in  Milan.  B.  1690;  d.  1715. 
Carlo  Antonio  and  Paolo  Antonio 
succeeded  to  the  business  of  their 
father.  Carlo  Giuseppe.  Instruments 
made  by  this  family  'were  modelled  on 
those  of  Joseph  Guarnerius,  and  usu- 
ally without  ornament.  Those  of  the 
father  are  the  best. 

Testudo.  L.  LYEE,  so-called 
because  the  hollow  part  was  made  of 
the  shell  of  the  sea  tortoise. 

Tetrachord.  The  four  tones  in 
GREEK  MUSIC  included  in  a  Perfect 
Fourth.  The  next  advance  over  this 
system  was  the  combination  of  Tetra- 
chords  into  HEXACHORDS  devised 
by  Guido  d'Arezzo,  on  which  musical 
theory  continued  to  be  based  until  the 
Church  Modes  gave  way  to  the  modern 
SCALE. 

Tetrazziui  (Louisa)  sang  sop.  in 
opera,  achieving  notable  success  at 
Covent  Garden,  London,  and  at  the 
Manhattan  Opera  House,  New  York, 
1907-8  in  coloratura  r6les.  For  many 
years  a  favorite  in  the  Italian  opera 
houses,  Mme.  Tetrazziui  was  first 
hailed  as  a  great  artist  during  an  en- 
gagement at  San  Francisco,  but  there- 
after both  London  and  New  York  vig- 
orously claimed  to  have  "  discovered  " 
her.  B.  Italy;  add.  New  York.  Eva, 
her  elder  sister,  well  kno-wn  as  an 
opera  sop.,  married  CAMPANINT,  the 
conductor. 

Thais.  Jules  Massenet's  "  lyric 
comedy,"  to  book  by  Louis  Gallet, 
based  on  Anatole  France's  novel,  was 


the  Nile,  but  Athanael's  seat  is 
vacant.  As  Palemon  tells  that  he 
has  seen  their  brother  in  a  vision,  and 
that  he  is  returning,  Athanael  enters, 
worn  with  fatigue.  He  has  been  in 
Alexandria  and  has  found  the  city 
given  over  to  sin.  "  A  woman,  Thais, 
fills  it  with  scandal  —  and  through 
her,  hell  there  governs  men."  T^e 
cenobites  ask:  "Who  is  this  Thais," 
and  Athanael  replies:  "An  infamous 
priestess  of  Venus,"  whom  he  had 
Imown,  and  by  whom  he  had  been 
tempted  before  his  conversion.  Pale- 
mon sagely  warns  him  not  to  meddle 
in  such  matters ;  the  night  comes,  and 
with  it  a  vision  in  which  Athanael 
sees  Thais  in  the  theatre  of  Alexan- 
dria, half  clad,  but  with  her  face 
veiled,  enacting  the  loves  of  Aphro- 
dite. From  a  distance,  the  cheers  of 
the  mob  can  be  heard,  which  increase 
with  the  animation  of  Thais.  As  day 
breaks,  the  vision  disappears,  Atha- 
nael awakes,  and  although  dissuaded 
by  Palemon,  resolves  to  seek  out  and 
convert  Thais.  The  scene  shifts  to 
the  palace  of  Nicias  in  Alexandria, 
where  Athanael  is  welcomed  as  an  old 
friend.  Nicias  causes  Athanael  to  be 
robed  and  perfumed  by  his  women 
slaves,  but  laughs  at  the  notion  that 
Thais  can  be  withdrawn  from  the  wor- 
ship of  Venus.  Thais  enters,  at- 
tended by  a  crowd  of  players,  come- 
dians and  philosophers.  Interested 
by  the  fierce  mien  of  the  eenobite, 
Thais  inquires  who  he  may  be,  and 
when  she  is  told  that  it  is  Atha- 
nael's hope  to  convert  her,  dares  him 
to  try,  and  disposes  herself  to  repro- 
duce the  scene  of  the  loves  of  Aphro- 
dite. As  slaves  are  detaching  her 
robe,  Athanael  rushes  out  with  a  ges- 
ture of  horror.  In  the  second  act, 
Thais  is  praying  before  the  shrine  of 
Venus.  She  is  weary,  unhappy,  but 
as  she  prays  for  eternal  beauty 
Athanael  enters,  and  despite  the  se- 


THAIS 


666 


THALBEBO 


duetive    loveliness    of   the    priestess, 
preaches  the  life  everlasting.    Though 
Thais  refuses  to  believe,  she  declines 
to  receive  the  visit  of  Nieias,  latest 
of  her  lovers,  and  Athanael  then  tells 
her  he   will   await  her  coming  until 
dawn  on  her  doorstep.     After  a  reli- 
gious meditation   played   by  the   or- 
chestra, the  scene  shifts.    Athanael  is 
shown  asleep  on  the  last  step  of  the 
portico  of   Thais'   house.     Thais   en- 
ters from  the  house,  arouses  Athanael 
and  says :   "  I  prayed  —  I  wept  —  hav- 
ing seen  the  nothingness  of  pleasure 
—  to   thee  I   come  as  thou  hast  or- 
dered."   Athanael  is  prepared  to  take 
her  to  the  convent  presided  over  by 
Albine,  "at  once  a  daughter  of  the 
Caesars,  and  the  servant,  the  purest 
of  Christ."  Thais  begs  that  she  may 
take  with  her  a  statuette  of  Eros,  but 
Athanael  hurls  it  against  the  pave- 
ment, and  Thais  meekly  prepares  to 
follow    him,    when    Nieias    and    his 
friends  block  the  way.     He  has  won 
at  the  gaming  table  thirty  times  the 
price  he  paid  for  the  beauty  of  Thais, 
and  prepares  to  celebrate  his  success 
with  an  orgy.    Thais,  obedient  to  the 
will  of  Athanael,  has  set  fire  to  her 
house  that  all  pertaining  to  the  old 
Thais   might   be    destroyed,    and   she 
comes  forth,  meanly  clad,  to  accom- 
pany  Athanael   to   the    desert,   when 
they  are  stopped  by  the  mob.    Vainly 
does   Athanael   declare   that  she   has 
now  become  the  spouse  of  God,  the 
mob  attacks  the  cenobite,  and  he  is 
wounded  in  the  forehead  by  a  stone. 
Athanael    will    welcome    martyrdom, 
but  just  then   the  flames  have  been 
discovered    enveloping    Thais'    house. 
Nieias   flings   gold   to   the   people   to 
distract   their    attention,    and    while 
they  scramble  for  the  coin,  Athanael 
and    Thais   escape.     Act    four    takes 
place  in  an  oasis  of  the  desert,  the 
abode  of  Albine  and  her  nuns  in  the 
distance.     Worn  with  fatigue,   Thais 
faints,    but    Athanael,    who   realizes 
that  he  has   been  too   severe,   kisses 
her  bleeding  feet,  brings  her  fruit  and 
water.       Soon     women's     voices     are 
heard    chanting    the    Pater    Noster. 
Albine  and  her  nuns  enter,  and  Thais 
bids    farewell    to    Athanael    forever. 


adding  "  in  the  celestial  city  we  shall 
find  one  another  again."     The  scene 
shifts  to  the  abode  of  the  cenobites  in 
the     Thebaid.       Twenty     days     have 
elapsed  since  the  return  of  Athanael, 
says  Palemon,  in  which  he  has  taken 
no   nourishment.     "  The   triimiph  he 
has  won   over  hell   has   broken   him, 
body  and  soul."     Athanael  confesses 
to  Palemon  that  the  beauty  of  Thais 
haunts  him.    He  sees  her  as  Helen,  as 
Phryne,   as  Venus  Astarte,  all  their 
splendor    and    voluptuousness    in    a 
single   creature.      Palemon   sadly   re- 
minds  him   of   the   warning   he   had 
given  and  departs.    Thais  appears  in 
a  luminous  vision,  tempting  him,  as 
at  their  first  meeting,  then  vanishes, 
and  a  new  apparition  shows  her  dying 
at  Albine's  convent.    Voices  chant  "  A 
saint   is   about  to   quit   the   earth  — 
Thais  of  Alexandria  is  about  to  die." 
Athanael  rushes  -  into  the  night,  cry- 
ing:   "Fool  that  I  was,  not  to  have 
understood  —  that  alone  was  all,  that 
one  of  her  caresses  was  worth  more 
than  heaven !  "    The  next  scene  reveals 
the  garden  of  Albine's  convent.    Thais 
is  dying.    The  nuns  welcome  Athanael, 
who  has  come,  Albine  supposes,  "  to 
bless    this    saint   whom    thou   gavest 
us."  Athanael  vainly  pleads  his  love, 
for  the  joys  of  heaven  unfold  them- 
selves   to   the    dying   saint,    and   she 
narrates  "the  sound  of  the  harps  of 
gold     enchants     me,     soft     perfumes 
penetrate  my  being,  I  sense  —  an  ex- 
quisite   beatitude  —  all    my    sorrows 
sleep  —  Ah!      Heaven!      I   see   God." 
And  then  she  dies.     Athanael,  with  a, 
terrible  cry,  casts  himself  on  his  knees 
before  her. 

Thalberg  (Sigismund)  composed 
the  unsuccessful  operas  "  Florida  "  and 
"  Cristina  di  Svezia,"  six  nocturnes,  a 
grand  concerto,  "La  Cadence," 
"Marche  Fungbre  Varife,"  and  many 
transcriptions  for  piano,  was  the 
"  only  artist  who  could  play  the  violin 
on  the  keyboard,"  according  to  Liszt, 
but  while  severely  criticised  by  Schu- 
mann (and  likewise  Liszt),  was  ad- 
mired by  Mendelssohn,  and  a  general 
favourite  with  women,  who  thronged 
his  concerts  in  every  part  of  the  world. 
Natural  son  of  Prince  Dietrichstein 


THALLON  667  THEORY  OF  MUSIC 

tte  ffvm?ruf.f^^l!"'  Thalberg  was  South  Natick,  Mass. ;  d.  July  15, 1897, 

+  SI  ^  parents,  was  edu-  Trieste, 

servipp'^w  |*tli«'-f°r  the  diplomatic       Thayer  (Arthur  Wilder)  composed 

«w=+'  ^  „  T  ^*  devoted  himself  part-songs;     conducted    choral    socie- 

Mmna  ^i.°A^  *°  .°"'^"'.;,  ^P"  °*  "^^5  P^Pil  "*  Guilmette  and  Adams, 
Mittag  bechter,  and  possibly  of  Hum-  Chadwick  and  Zerrahn.  B.  Aub  26. 
mel  and  Czerny,  he  made  his  first  tour  1857,  Dedham,  Mass.;  add.  Milton. 
ot  Ixermany  as  virtuoso  in  1834,  was  Thayer  (Whitney  Etigene)  played 
made  court  pianist  at  Vienna,  achieved  organ,  lectured,  wrote  on  music  and 
a  notable  success  in  Paris,  1835,  and  composed.  B.  1838,  Mendon,  Mass.; 
thereafter  was  an  established  favourite,  d.  1889,  Burlington,  Vt. 
In  1855  he  toured  Brazil,  and  the  fol-  Theil.  Oer.  Division  of  a  bar; 
lowing  year  the  United  States,  then  strain  or  part  of  a  composition  or  the 
settling  m  a  villa  at  Posilippo,  near  whole  composition. 
Naples.  His  last  public  appearance  Theile  (Johann)  composed  a  Ger- 
*  °  J^T^  "^  London,  1863,  and  man  Passion,  Christmas  oratorio,  ope- 
toward  the  close  of  his  life  not  a  piano  ras,  and  much  church  music  which 
was  to  be  found  on  his  estate.  Of  his  gained  him  the  title  "  father  of  eon- 
works,  more  than  90  in  number,  prac-  trapuntists ;  pupil  of  Heinrich 
tically  all  have  been  shelved,  although  Schutz;  chapelmaster  at  Gottorp  and 
he  invented  many  new  effects  adopted  Wolfenbiittel,  and  teacher  of  Buxte- 
by   subsequent  composers  for  his  in-  hude  and  Hasse.     B.  July  29,   1646, 


strument.  B.  Jan.  7,  1812,  Geneva; 
m.  Mme.  Boucher,  daughter  of  the 
singer  Lablanche,  1843;  d.  April  27. 
1871. 


Naumberg;    d.  1724,  Naumberg. 
Theme.     Ger.    THEME. 
ThSme.    Fr.    THEME. 
Theme.      Subject    of    a    FUGUE; 


Thallon.  (Bobert)  composed  piano  tune  on  which  variations  are  made; 
music;  played  and  taught  piano  ftnd  a  division  of  a  subject  in  the  develop- 
organ;    pupil  in  Leipsic,  Paris,  Stutt-    ment   of    sonata    FOEM;     CANTUS 


gart  and  Florence ;   settled  in  America 
with  parents  in  childhood.    B.  Mar.  18, 
1852,  Liverpool;    add.  Brooklyn-New 
York. 
Thayer     (Alexander    Wheelock) 


FIRMUS  on  which  counterpoint  is 
built. 

Theorbe.    Fr.    THEORBO. 

Theorbo.  Archlute,  or  large  double 
necked  LUTE  with  two  sets  of  tuning 


wrote  a  monumental  life  of  Beethoven,    pegs,  the  lower  governing  the  strings 


rich  in  material,  to  the  collection  of 
which  he  devoted  30  years  of  travel 


fingered  on  frets,  the  upper  the  dia- 
pason or  bass  strings,  which  gave  the 


and     research,    but    unfinished,    and  open  tones  only.    Theorboes  varied  in 

omitting  the    last   few  years   of   the  size  from  one  foot  seven  inches  to  six 

Master's    career.      This    work,    Ger.  feet  one  inch  in  length,  and  were  dif- 

trans.   by   H.   Deiters,   of   Bonn,  was  ferent  considerably,  therefore  in  pitch, 

published  as  "  Ludwig  van  Beethoven's  The  instrument  was  used  for  aceom- 

Leben,"   by    Weber,    Berlin,    1866-79.  paniment    and    for    solo.      Prsetorius 

In   1843  Thayer  was  graduated  from  says  that  the  theorbo   differed   from 

Harvard,  spent  some  years  as  librarian  the  lute  only  in  having  single   bass 

to  the  University,  and  in  1849  made  strings,  while  those  of  the  lute  were 

his  first  visit  to  Europe  in  search  of  doubled. 

material  for  his,  book  on   Beethoven.  Theoretiker.     Ger.    Theorist. 

In  1852  he  was  attached  to  the  staff  Theoricien.     Fr.    Theorist.  _     _ 

of  the  New  York  "  Tribune,"  and  later  Theorist.    Student  of  the  principles 

of  musical  art,  or  Acoustics. 


to  "  Dwight's  Journal  of  Music,"  Bos- 
ton, but  in  1854  returned  to  Germany, 
and  from  1862  was  consular  agent  at 
Vienna,   then  consul  at  Trieste.     He 


Theory  of  Music.  Rules  made 
from  a  knowledge  of  the  principles  ot 
sound   for  composition   and  arrange- 


was   the   author   of  many  newspaper    ment  of  music  for  both  voices  and  m- 
and  magazine  essays.    B.  Oct.  22, 1817,    struments  in  RHYTHM,  HARMONY, 


THESIS 


668 


THOMAS 


MELODY,  COUNTERPOINT,  FUGUE 
and  INSTRUMENTATION. 

Thesis.  Gr.  Downward  wave  of 
the  hand  denoting  the  absence  of 
accent.  It  was  the  opposite  of  AR- 
SIS. In  modern  CONDUCTING  down 
beats  indicate  strong  accents. 

Thibaud  (Joseph)  played  piano, 
touring  America  with  Marsick,  1895- 
96;  prize  pupil  Paris  Conservatoire 
under  Diemer.  B.  Jan.  25,  1875, 
Bordeaux;    add.  Paris. 

Thihaut  (Anton  Triedrioh  Jus- 
tus) wrote  "  Ueber  Reinheit  der  Ton- 
kunst,"  Eng.  trans,  as  "Purity  in 
Musical  Art";  founded  a  society  in 
Heidelberg  for  the  study  of  Palestrina, 
and  made  valuable  collection  of  early 
Italian  church  music  now  in  possession 
of  the  Munich  court  library ;  professor 
of  law  at  Kiel  and  Heidelberg;  grad- 
uate, Gottingen.  B.  Hameln,  Jan.  4, 
1772;    d.  Mar.  25,  1840,  Heidelberg. 

Thieme  (Franz)  composed  and  pub- 
lished text  books  in  Bonn,  1802. 

Thierf  elder  (Dr.  Albert  William) 
composed  the  operas  "  Der  Heirath- 
stein,"  Rostock,  1898;  "  Zlatorog," 
two  symphonies,  "  Frau  Holda "  for 
soli  chorus  and  orchestra;  wrote  on 
music;  taught,  Rostock  University 
from  1887;  pupil  of  Hauptmann, 
Riehter  and  Pohl;  Dr.  Phil.  Leipsic 
University.  B.  April  30,  1846,  Muhl- 
hausen;    add.  Rostock. 

Thieriot  (Ferdinand)  composed  a 
violin  concerto,  the  symphonic  fantasy 
"  Loch  Lomond  " ;  was  conductor  in 
Hamburg,  Leipsic,  and  Glogau;  pupil 
of  Marzsen  and  Rheinberger.  B.  April 
7,  1838,  Hamburg;    add.  Hamburg. 

Thillon  (Anna  Hunt)  sang  sop.  in 
opera;  was  first  to  give  opera  in  San 
Francisco,  Cal. ;  created  the  principal 
role  in  DIAMANTS  DE  LA  COUR- 
ONNE,  which  Auber  composed  for  her ; 
pupil  of  Thillon,  conductor  of  the 
Havre  Philharmonic  Society,  whom 
she  m.  at  15.  B.  London,  1819;  re- 
tired, 1867. 

Thin.  Scanty  harmony;  weak 
quality  of  vocal  or  instrumental  tone. 

Third.  Mediant;  INTERVAL  of 
three  tones. 

Third  Flute.     Small  FLUTE. 

Third  Stave.     Stave  upon  which 


the  pedal  music  for  the  organ  i 
written. 

Thirlwall  (John  Wade)  compose 
a  "  Book  of  Ballads,"  which  include 
"  Sunny  Days  of  Childhood " ;  cor 
ducted  ballets,  Itoyal  Italian  Opera 
London;  wrote  music  criticism.  E 
Northumberland,  Jan.  11,  1809;  6 
June  15,  1875. 

Thirteenth,  Chord  of  the.  Chon 
consisting  of  the  3d,  7th,  and  13th  o 
the  dominant  and  used  in  both  majo 
and>  minor  modes,  sometimes  called  i 
suspension  or  a  secondary  seventh. 

Thirty-second  Note.  Demisemi 
quaver  in  NOTATION. 

Thoinan  (E.)  was  the  nom  d 
plume  of  Ernest  Roquet,  who  wrot 
books  and  music  reviews  in  Paris,  an( 
was  noted  as  an  antiquarian  and  col 
lector.  B.  1827,  Nantes;  d.  1894 
Paris. 

Thomas  (Ainbroise)  composed  thi 
operas  "  Hamlet,"  "  Frangoise  de  Rim 
ini,"  "Le  CID,"  "MIGNON";  an( 
many  works  in  all  forms;  was  direc 
tor  of  the  Paris  Conservatoire  fron 
187'1.  Son  of  a  musician,  he  was  abli 
to  read  music  as  soon  as  he  knew  hii 
alphabet,  and  learned  violin  and  pian( 
in  childhood,  then  studied  withKalk 
brenner,  Barberoue  and  Leseuer  at  thi 
Paris  Conservatoire,  where  he  won  thi 
Prix  de  Rome,  1832,  with  his  cantats 
"  Hermann  et  Ketty."  Again  settlec 
in  Paris  he  devoted  his  time  to  theatri 
cal  compositions,  most  of  which  me 
with  fair  success,  and  from  185' 
taught  composition  in  the  Conserva 
toire.  Among  his  early  works  may  bi 
noted  "La  Double  Echelle,"  Opfe 
Comique,  1837;  "Le  Perruquier  de  li 
Regence,"  1838;  "Le  Panier  Fleuri,' 
1839;  one  act  of  the  ballet  "Li 
Gipsy,"  Opera,  1839;  «  Le  Comte  di 
Carmagnola,"  1841 ;  "  Le  Guerillero,' 
1842;  "Betty,"  1846,  all  ballets  pro 
duced  at  the  Opfira,  and  then  at  th( 
Opera  Comique  "  Carline,"  1840 
"  Angelique  et  Medor,"  1843 ;  "  Mina,' 
1843;  "  Caid,"  1849;  "  Le  songe  d'um 
nuit  d'6te,"  1850;  "Raymond,."  1851 
"La  Tonelli,"  1853;  "La  Cour  d( 
Celimine,"  1855;  "Psyche,"  1857 1 
"  Le  Carneval  de  Venise,"  1853 ;  "  Li 
Roman  d'Elvira,"  1860;  then  his  mosi 


THOMAS 


669 


THOMAS 


popular  work,  "  Mignon,"  followed  by 
"Gille  et  Gilleton,"  1861;  "Hamlet," 
1861 ;  Francoise  de  Rimini,"  1882,  and 
the  ballet  "La  Tempgte,"  1889.  He 
also  composed  for  part-songs,  cantatas, 
and  a  messe  solonelle  performed  at 
N6tre  Dame,  1865.  Thomas  was  suc- 
cessively chevalier,  officer  and  com- 
mander of  the  Legion  of  Honour,  a 
member  of  the  Institut,  and  a  man  of 
wide  information  and  general  culture. 
B.  Aug.  5,  1811,  Metz;  d.  Feb.  12, 
1896,  Paris. 

Thomas  (Arthur  Goring)  com- 
posed the  cantata  "  The  Swan  and  the 
Skylark,"  Birmingham  Festival,  1894; 
the  operas  "  Esmeralda,"  Drury  Lane, 
London,  1883,  New  York,  1900; 
"Nadeshda,"  1885;  "The  Golden 
Web,"  1893,  and  the  choral  ode  "  The 
Sun  Worshippers,"  Norwich,  1894. 
At  the  age  of  24  he  began  the  study  of 
music  with  Emile  Durand,  and  was 
later  a  pupil  of  Sullivan  and  Front 
at  the  Boyal  Academy  of  Music.  His 
first  success  was  in  1879,  when  he  won 
the  Lucas  prize.  B.  Nov.  21,  1850, 
Kalston  Park,  Sussex;  d.  Mar.  20, 
1892,  London. 

Thomas  Aquinas  (Saint)  com- 
posed church  music,  although  his  fame 
as  a  philosopher  and  theologian  caused 
his  talents  in  that  direction  to  be  for- 
gotten. B.  about  1225,  Rocca  Sicca, 
near  Aquino,  Italy;  d.  1274,  Fossa 
Nova,  near  Terracina. 

Thom.as  (Harold)  composed  the 
overtures  "For  a  Comedy,"  "As  You 
Like  It,"  and  "Mountain,  Lake,  and 
Moorland";  taught  piano,  Guildhall 
School  of  Music,  and  Royal  Academy 
of  Music,  London,  where  he  had  been 
a  pupil.    B.  July  8,  1834,  Cheltenham. 

Thomas  (John)  was  made  "Pen- 
cerdd  Gwalia"  ("chief  of  the  Welsh 
minstrels")  at  the  Aberdare  Eistedd- 
fod, 1861;  was  one  of  the  most  dis- 
tinguished of  modern  harpists,  and 
composer  of  two  concertos  for  that 
instrument,  as  well  as  chamber  music, 
and  the  cantatas  "Llewelyn,"  1863; 
and  "The  Bride  of  Neath  Valley,' 
1866;  taught  harp,  Royal  College  of 
Music,  where  he  had  been  a  pupil. 
B.  1826,  Brigend,  Wales;  retired, 
1885. 


Thomas  (Lewis  William)  sang 
bass,  Eng.  Chapel  Royal,  and  in  ora- 
torios; wrote  on  music;  in  early  life 
master  of  choristers  Worcester  Cathe- 
dral.   B.  1826,  Bath;   d.  1896,  London. 

Thomas  (Theodore)  was  the  fore- 
most of  early  American  chamber 
musicians,  orchestral  conductors,  and 
teachers,  the  pioneer  of  the  large  or- 
chestra and  the  most  accomplished 
interpretative  musician  of  his  genera- 
tion in  America.  Son  of  a  violinist, 
who  emigrated  from  Hanover  to  the 
United  States  when  the  lad  was  ten 
years  old,  he  soon  learned  the  mastery 
of  the  violin  from  his  father,  and  ap- 
peared at  many  concerts  in  New  York 
as  soloist  before  he  was  15.  At  16  he 
made  a  successful  tour  of  the  Southern 
States,  and  on  returning  to  New  York 
was  the  first  violinist  at  concerts  given 
by  Jenny  Lind,  Mario,  etc.,  acting  as 
concertmeister  for  Arditi,  and  for  vari- 
ous wandering  opera  companies  for  the 
nejct  ten  years.  In  1855  he  began 
(with  DR.  WM.  MASON)  a  series  of 
chamber  concerts  in  New  York  which 
continued  until  1869.  In  1864  he  gave 
his  first  series  of  symphony  concerts 
in  New  York,  which  were  continued  for 
five  years,  and  again  resumed  from 
1872  to  1878,  and  to  keep  his  men  to- 
gether, organized  summer  concerts  in 
various  gardens.  His  orchestral  tours 
began  in  1869,  and  their  educational 
value  was  of  the  highest,  for  he  pro- 
duced the  classics  and  the  newer  works 
with  an  art  in  programme  building 
which  has  rarely  been  equalled.  In 
1879  a  disastrous  season  at  the  Phila- 
delphia Centennial  was  followed  by  the 
disbanding  of  his  orchestra;  but  he 
had  conducted  several  of  the  Cincin- 
nati May  Festivals,  and  on  the  founda- 
tion of  the  College  of  Music  in  that 
city,  1^78,  he  accepted  its  direction, 
returning  to  New  York  to  conduct  the 
Philharmonic  Societies  of  New  York 
and  Brooklyn,  and  organizing  a  large 
chorus  in  the  former  city.  In  1880  he 
retired  from  the  Cincinnati  College  of 
Miusic,  although  retaining  the  direc- 
tion of  fhe  May  Festivals  during  life, 
and  again  settled  in  New  York,  where 
he  collected  an  excellent  orchestra, 
and  in  1883  toured  with  an  organiza- 


THOKASSCHTTLE 


670 


THOMSON 


tlon  of  symphonic  proportions  from 
New  York  to  San  Francisco  and  return. 
Musical  affairs  in  New  York  were  not 
patronized  at  any  time  in  Mr.  Thomas's 
career  with  the  liberality  which  has 
been  conspicuous  for  the  past  decade, 
and  in  1888,  on  the  expiration  of  his 
term  as  conductor  of  the  Philharmonic 
Society,  a  liberal  offer  was  made  him 
if  he  would  organize  a  Symphony  or- 
chestra in  Chicago.  There  his  labours 
were  appreciated  at  their  full  worth, 
and  crowned  ultimately  with  a  success 
undeniable,  for  he  lived  to  conduct  the  • 
first  concerts  in  the  Symphony  Hall, 
which  had  been  built  by  popular  sub- 
scription as  a  home  for  his  organiza- 
tion. Mr.  Thomas  was  a  man  of 
brusque  manner,  quick  temper,  but  a 
kindly  heart,  knowing  his  players  well, 
and  befriending  them  often.  Their 
loyalty  was  genuine  because  of  knowl- 
edge of  his  solid  worth.  But  he  was 
often  unnecessarily  harsh  to  singers, 
who  were  less  able  to  make  allowance 
for  his  defects,  and  he  was  never  at  his 
best  either  in  conducting  a  chorus,  or 
in  accompanying  a  soloist.  He  was  an 
admirable  interpreter  of  Beethoven,  in 
whose  symphonies  he  took  an  especial 
delight;  but  sufficiently  catholic  in 
taste  to  appreciate  and  make  known 
the  -works  of  Wagner  and  Strauss.  B. 
Oct.  11,  1835,  Essens,  East  Friesland; 
d.  Jan.  4,  1905,  Chicago,  111.  See 
"Theodore  Thomas,"  a  sympathetic 
and  interesting  life  by  his  friend 
George  P.  UPTON. 

Thomasschule,  of  LEIPSIC,  was 
among  the  most  celebrated  as  well  as 
the  most  venerable  institutions  in  Ger- 
many for  the  cultivation  of  music,  and 
had  for  its  Cantor  or  director  in  1908 
Prof.  Gustav  SCHRECK.  The  school 
was  an  outgrowth  of  the  Thomas 
Choir,  the  singing  organization  of  the 
Augustinian  monastery  of  Leipsic, 
whose  foundation  dated  back  to  the 
middle  ages.  The  monks  were  dis- 
persed by  the  Lutherans,  and  their 
convent  occupied  by  a  gymnasium  or 
school,  and  it  was  the  duty  of  the 
scholars  to  provide  music  for  the  ser- 
vices at  the  churches  of  St.  Thomas 
and  St.  Nicholas.  The  singers  average 
from  12  to  22  years  of  age,  and  the. 


"  alumni,"  to  win  their  appointments, 
must  pass  a  severe  examination  in 
music,  possess  a  very  good  soprano 
voice,  and  be  able  to  sing  at  sight. 
Once  accepted,  the  alumni  receive 
both  living  and  education  at  the  ex- 
pense of  the  city  until  their  final  ex- 
aminations, which  admit  them  to  Leip- 
sic University.  The  older  students 
teach  the  younger  ones  singing  and 
piano  playing,  and  all  are  under  the 
supervision  of  three  inspectors  who 
are  likewise  teachers  in  the  Thomas 
Gymnasium,  and  the  rector  of  the 
school  is  president  of  the  alumni,  who 
numbered  about  60  in  1908,  as  in  the 
time  of  J.  S.  BACH.  The  Thomas 
Choir  sings  motets  every  Sunday 
afternoon  at  half  past  one  in  the 
Thomas  Church,  naturally  giving 
especial  prominence  to  the  works  of 
Bach.  Every,  Sunday  concerts  are 
given  alternately  at  the  Thomas  and 
Nicholas  churches,  with  the  aid  of 
the  Leipsic  City  orchestra.  For  many 
years  the  alumni  or  actual  singers 
were  the  main  support  of  the  school, 
but  they  were  in  the  minority  of  the 
scholars  in  1908.  The  cantors  of  the 
Thomasschule  have  been,  besides  the 
illustrious  Bach,  Rhau,  who  was 
contemporary  with  Luther,  Calvisius, 
Schein,  and  later  Kuhnau.  Moritz 
Hauptmann,  the  great  theorist,  was 
likewise  a  member  of  the  faculty. 

Thome  (Frangois  Luc  Joseph) 
composed  the  opera  "  Romeo  et  Juli- 
ette," 1890;  the  mystery  "  L'Enfant 
Jesus,"  1891;  the  symphonic  ode 
"  Hymne  a  la  Nuit,"  songs  and  piano 
pieces;  wrote  criticism  and  taught  in 
Paris;  pupil  of  Marmontel  and  Du- 
prato,  Paris  Conservatory.  B.  Oct. 
18,  1850,  Port  Louis,  Mauritius;  add. 
Paris. 

Thomson  (Cesar)  played  violin, 
touring  Europe  repeatedly  with  suc- 
cess and  the  United  States,  1894;  be- 
came head  of  the  violin  department 
Brussels  Conservatory,  1898,  in  suc- 
cession to  Isaye;  prior  to  that  cham- 
ber musician  to  Baron  van  Derwies  at 
Lugano,  first  violin  the  Bilse  orchestra, 
Berlin,  and  violin  teacher,  Li6ge  Con- 
servatory; pupil  of  Li6ge  Conserva- 
tory, where  he  won  the  gold  medal  at 


THOMSON 


671 


THtJRSBT 


11,  and  later  of  Vieuxtemps,  Leonard, 
Wieniawski,  and  Massart.  B.  Mar.  17, 
1857,  Liege;    add.  Brussels. 

Thomson  (George)  made  collectiona 
of  Scotch,  Irish,  and  Welsh  melodies 
■which  were  adapted  in  some  instances 
to  verses  written  for  him  by  Burns, 
and  which  were  provided  with  accom- 
paniments by  Beethoven,  Haydn, 
Pleyel,  and  Kozeluch;  was  for  50  years 
secretary  Trustees  for  the  Encour- 
agement of  Arts  and  Manufactures  in 
Scotland.  B.  1757,  Edinburgh;  d.  Feb. 
11,  1851,  Leith. 

Thomson  (John)  was  first  pro- 
fessor of  music,  Edinburgh  University, 
and  as  such  founder  of  the  REID  con- 
certs, for  which  he  wrote  the  first 
analytical  notes  on  the  programme 
printed  in  English;  composed  "Her- 
mann," ' "  The  House  of  Aspen,"  and 
other  dramatic  pieces'  and  popular 
songs;  pupil  of  Schnyder  von  Warten- 
see.  B.  Oct.  28,  1805,  Ednam;  d.  May 
6,  1841,  Edinburgh. 

Thomdike  (Herbert  Elliot)  sang 
bass  in  opera  and  concerts,  debut  at 
Cambridge,  1878,  and  at  Drury  Lane, 
1887;  noted  for  Schubert  interpreta- 
tions. B.  April  7,  1851,  Liverpool; 
add.  London. 

Thorne  (Edward  H.)  composed  ser- 
vices, psalm  cxxv,  organ  voluntaries, 
songs,  chamber  music;  played  piano 
and  organ  in  concert,  and  at  several 
London  churches ;  taught  piano ;  chor- 
ister in  boyhood,  St.  George's  Wind- 
sor, under  Sir  George  Elvey.  B.  May 
9,  18.34,  Cranborne,  Eng. 

Thorne  (John)  composed  the  three- 
part  motet  "  Stella  Coeli,"  and  other 
church  music;  was  probably  attached 
to  York  Minster.  D.  Dec.  7,  1573, 
York. 

Thoroughbass,  An  instrumental 
bass  accompaniment  carried  through- 
out a  composition,  indicated  by  a  kind 
of  musical  shorthand  in  which  the 
chords  are  represented  by  figures  in- 
stead of  being  written  out  in  ordinary 
notation.  L.  Viadana  may  have  in- 
vented this  musical  shorthand,  1566- 
1644,  but  its  use  spread  generally 
throughout  Europe.  The  term  is  often 
used  incorrectly  as  a  synonym  for 
harmony. 


.  Three  Choirs  Festivals  were  those 
founded  in  1724  by  the  combined  choirs 
of  Gloucester,  Worcester,  and  Here- 
ford Cathedrals,  originally  for  the 
performance  of  the  cathedral  service 
with  full  orchestra.  From  1759  the 
performances  were  held  in  the  Cathe- 
drals, and  oratorios  were  sometimes 
given,  and  later  secular  orchestral 
music  as  well,  and  cantatas.  Many 
new  works  have  been  performed  at 
these  concerts,  which  alternate  between 
the,  cities  named,  giving  each  a  tri- 
ennial music  festival  of  several  days' 
duration.  Usually  the  organist  of  the ' 
Cathedral  in  which  the  festival  is  held 
officiates  as  conductor. 

Threnody.  Chr.  Funeral  song  or 
elegy. 

Thrice  HCarked  Octave.  The  oc- 
tave beginning  with  e  " '. 

Thrum.  To  sweep  with  the  fingers 
all  the  chords  of  a  string  instrument; 
the  sound  so  made. 

Thuille  (Ludwig  Wilhelm  Ands. 
M.)  composed  the  operas  "  Theuer- 
dank,"  Luitpold  prize,  Munich,  1897; 
"Lobetanz,"  Carlsruhe  and  Berlin, 
1898;  romantic  overture,  sonatas,  sex- 
tet for  piano  and  wind;  conducted 
Liederhort  and  taught  piano  and  the- 
ory in  Munich  Music  School,  where  he 
had  been  a  pupil  of  Baermann  and 
Rheinberger,  also  pupil  of  Pembaur; 
royal  professor,  1891;  B.  Nov.  30, 
1861,  Bozen,  Tyrol;  add.  Munich. 

Thurlings  (Adolph)  wrote  "Die 
beiden  Tongeschlechter  und  die  neuere 
mus.  Theorie,"  1877,  in  favour  of  har- 
monic dualism,  which  won  him  the 
degree  Dr.  Phil,  of  Munich;  taught 
Old-Catholic  theology,  Bonn  Univer- 
sity, from  1877. 

Thiirmer.  Oer.  Town  musician. 
WAITS.   . 

Thurnam  (Edward)  composed  a 
cathedral  service,  songs;  played _  or- 
gan ;  conducted  Eeigate  choral  society. 
B.  Sept.  24,  1825,  Warwick,  Eng.;  d. 
Nov.  25,  1880. 

Thursby  (Emma)  sang  sop.  in  eon- 
certs  throughout  Europe  and  America 
with  great  success;  compass  from  c' 
to  e  " '  flat,  debut  1875  at  Plymouth 
Church,  Brooklyn-New  York,  there- 
after touring  with  Gilmore;  pupil  of 


TIBAE    PARES 


672 


TIEBSCH 


Meyer  in  Brooklyn,  Errani,  New  York, 
Mme.  Rudersdorflf,  Boston,  and  then 
of  Lamperti  and  San  Giovanni,  Milan. 
B.  Nov.  17,  1857,  Brooklyn-New  York; 
add.  New  York. 

Tibae  Pares.  L.  Two  FLUTES 
played  together  by  the  same  flautist 
and  of  the  same  pitch. 

Tibae  TJtrioulariae.  L.  BAGPIPE. 

Tibia.  L.  "Shin-bone."  Old 
name  of  wind  instruments  with  holes, 
such  as  the  flute,  flfe,  and  pipe,  once 
made  from  the  human  leg  bone. 

Tibia  Major.  Organ  FLUTE  stop 
of  16-ft.  pitch. 

Tibicen.     L.    Flute  player. 

Tibioena.    L.    Female  flautist. 

Tibicinium.    L.    Piping. 

Tibicino.    L.    To  pipe. 

Tichatschek  (Joseph  Aloys)  sang 
ten.  in  opera,  creating  "  Rienzi "  and 
"  Tannhauser "  for  Wagner ;  court 
singer  at  Dresden.  B.  1807,  Ober- 
Weckelsdorf,  Bohemia;  d.  1886,  Dres- 
den. 

Tie.  Curved  line  in  NOTATION 
placed  over  two  notes  in  the  same 
position  on  the  stave  which  are  to  be 
sustained  as  one  tone;  when  placed 
over  two  notes  not  of  the  same  degree 
it  is  called  a  SLUR. 

Tiedge  (Christoph  August)  wrote 
the  poem  "  Urania "  from  which  his 
close  friend  Beethoven  selected  the 
text  for  "  An  die  HoflFnung."  B.  1752; 
d.  Mar.  8,  1841. 

Tief.     Ger.    Low,  deep. 

Tiefland.  Eugen  d' Albert's  serious 
opera  to  book  by  Rudolph  Lothar, 
was  first  performed  in  Berlin,  1908, 
and  then  in  other  German  cities. 
The  libretto  is  based  on  "Terra 
Baixa,"  a  Catalonian  play  by  Angel 
Guimera,  of  which  there -is  a  Spanish 
version  by  Jose  Echegaray- known  as 
"Tierra  Baja,"  and  an  English  ver- 
sion known  as  "  Marta  of  the  Low- 
lands." The  prologue  shows  a  pasture 
land  in  the  Pyrenees  where  the  shep- 
herd Pedro  is  tending  his  flocks. 
Sebastiano,  a  rich  countryman,  in- 
forms Pedro  that  he  had  brought  him 
a  bride,  Marta,  a  young  girl  from  the 
lowlands.  Infatuated  with  the  girl  at 
first  sight,  Pedro  is  only  too  willing 
to  make  her  his  wife,  and  departs  for 


the  lowland  village  where  the  weddinj 
is  to  take  place.  In  this  village  th 
first  act  takes  place.  Not  until  afte 
the  ceremony  does  he  learn  the  mean 
ing  of  the  jeers  with  which  the  vil 
lagers  received  him.  Marta,  a  strol 
ling  player,  had  been  forced  inti 
relations  with  Sebastiano  by  he 
father,  to  whom  Pedro  had  given  i 
mill  which  provided  the  old  rasca 
with  an  easy  living.  Marta  tells  hin 
the  whole 'story,  and  he  is  wild  witl 
rage.  At  first  he  wishes  to  kill  Marta 
but  his  love  for  her  is  too  genuine 
and  he  determines  to  avenge  her.  Th( 
second  act  opens  in  the  home  of  Marti 
and  Pedro.  Sebastiano  enters,  coolb 
ejects  the  husband,  and  proceeds  t( 
make  love  to  the  wife,  who  resists  hii 
advances.  Pedro  suddenly 'returns,  s 
knife  in  his  hand,  crying:  "Man  tc 
man \"  "I  have  no  weapon,"  Sebas 
tiano  exclaims,  seeking  to  escape 
"  Then  I  need  none,  for  I  will  strangli 
you,"  answers  Pedro,  and  throwing 
away  his  weapon,  which  Sebastianc 
vainly  tries  to  capture,  he  closes  ii 
on  his  enemy,  and  chokes  him  to  death 
Then  opening  the  door,  he  calls  in  th( 
villagers,  tells  them  what  he  has 
done,  clasps  Marta  in  his  arms,  anc 
cries :  "  We  will  go  back  to  the  moun 
tains;    far  from  the  lowlands-!  " 

Tierce.  Pr.  Third;  organ  stoj 
tuned  a  seventeenth  above  the  dia 
pason;  that  service  in  the  HORjS 
CANONICiE  taking  place  the  thirc 
hour  of  the  day,  "  undersang "  oi 
the  Anglo-Saxons;  natural  harmonic 
produced  by  l-5th  of  a  vibratin| 
string. 

Tierce  CoulSe.  Fr.  "  Slurrec 
third,"  in  old  harpsichord  music  ex 
pressed  by  a  diagonal  dash  through  tht 
notes  of  the  third  and  called  the  rising 
slurred  third  while  a  dash  in  the  othei 
direction  named  it  the  falling  slurrec 
third. 

Tierce  de  Ficardie.  Fr.  Sharpened 
third  in  the  concluding  chord  of  s 
composition  in  the  minor  mode. 

Tiersch  (Otto)  wrote  on  singing 
endeavoring  to  apply  to  the  art  oi 
teaching  Helmholtz's  discoveries  ir 
acoustics;  taught  vocal  in  Berlin; 
pupil  Stern  Conservatory.     B.  Kalbs 


TIEKSOT 


rieth,  Thuringia,   Sept.   1,   1838;    d. 
1892,  Berlin. 

Tiersot  (Jean  Baptiste  Ellsee 
Jiilien)  composed  "Hellas"  for  soli 
choir  and  orchestra,  BordUn  prize, 
1885;     rhapsodies    on    popular   airs; 


673  TINTEMEITT 

Fr.     Quality  of  tone  or 


Timbre, 
sound. 

Timbrel.     Eeb.    TAMBOURINE. 
_  Timmner  (Christian)   played  vio- 
lin;   toured  with  success  until  1894, 
and   then    retired,    resuming    concert 


wrote  "Histoire  de  la  chanson  popu-    work,  1902.     B.  1860,  Holland;    add. 
laire  en  France,"  etc.;    became  assist-    Berlin, 


ant  librarian,  Paris  Conservatoire,  Timorosamente, 
1883,  where  he  had  been  a  pupil  of  with  fear,  timidly, 
C6sar  Franok.    B.  Bourg;   add.  Paris.        ~" 

Tietjens  or  Titiens  (Tberese  Caro- 
line Johanna)  sang  mez.  sop.  with 
very  great  success  in  London,  gradu- 
ally increasing  her  compass  until  she 
was  able  to  interpret  such  rSles  as 
"  Lucrezia,"  "  Semiramide,"  "  The 
Countess"  in  "Nozze  di  Figaro," 
"Fidelio,"   and   "Medea"   in   Cheru 


It.    Hesitatingly, 


It.      Timorous,    with 


Timoroso. 
hesitation. 

Timp.  Abbreviation  for  TIM- 
PANI. 

Timpani.     It.    Kettle  DRUMS. 

Timpanista.    It.    Drummer. 

Tinctorls,  de  (Joannes)  wrote 
"Terminorum  Musicae  Diffinitorium," 
Naples,   1474,  the  earliest  dictionary 


bini's  opera,  in  contrast  to  "  Fides "  of  music  and  many  other  Latin  Theo- 

and  "  Ortrud."    Debut  in  Hamburg  at  retical  works ;    founded  a  free  music 

18,  and  in  London,  1858,  as  "  Valen-  school  in  Naples,  while  in  the  service 

tine "    in    the    "  Huguenots,"    toured  of  Ferdinand  of  Arragon ;   composed  a 

America,    1876.      B.    July    17,    1831,  "  Missa   I'Homme   Arme "   and   other 

Hamburg;   d.  Oct.  3,  1877,  London.  church  music  of  the  type  which  even- 

Tilborghs       (Joseph)       composed  tually  brought  down  the  wrath  of  the 

motets    and    organ    pieces ;      taught  Council  of  Trent ;   was  doctor  of  theol- 

organ,  Ghent  Conservatory  from  1882  ogy  and  law,  priest.  Canon  of  Nivelle, 

and     counterpoint,     Antwerp     Music  and  highly  esteemed  for  his  general 

School;    pupil  of  Lemmens  and  FStis,  culture  and  learning;    known  also  as 

Brussels   Conservatory.     B.   Sept   28,  John   Tinctor,   Giovanni   del   Tintore 

1830,  Nieuwmoer.  and  Jean  de  Vaerwere.    B.  about  1435, 

Tilmant  (Alexandre)  played 'cello,  Nivelle,    Brabant;     d.    about    1520, 

and  founded  string  quartet  with  his  Nivelle. 

brother  THEOPHILE.    D.  1880,  Paris.  Tinel  (Edgar)  composed  the  oratorio 

Theophile    conducted    20    years,    be-  "  Franciscus,"  Op.  36,  performed  1889 

ginning   1849,  Paris  Opfira   Comique,  in  Brussels,  and  later  in  America,  one 

prior  to  which  he  had  been  assistant  of  the  most  beautiful  of  modern  works 

conductor   at   the    Conservatoire   and  in  this  form,  dealing  with  the  life  of 

chief  conductor  at  the  Theatre  Italien;  St.  Francis  of  Assisi;   a  5-part  Grand 

founded  string  quartet  with  his  brother  Mass  of  the  Holy  Virgin  of  Lourdes, 

ALEXANDRE,  1838-48;    prize  pupil  Op.   41;    motets,  sacred  songs,  a  Te 

of     Kreutzer,     Paris     Conservatoire;  Deum,  Alleluia,  piano  music;    wrote 


chevalier  of  the  Legion  of  Honor.    B. 
July  8,   1899,  Valenciennes;    d.  May 
7,  1878,  Asnieres. 
TimanofE  (Vera)  played  piano,  an 


on  Gregorian  chant;  taught  theory, 
Brussels  Conservatory;  was  state  in- 
spector of  music  school  in  Belgium 
from  1896,  and  in  earlier  life  director 


especial  favourite  in  St.  Petersburg,  Institute  for  Sacred  Music  at  Malines. 
Prague,  Vienna,  and  London;  pupil  Son  and  pupil  of  a  schoolmaster- 
of   Nowitzl^,  A.  Rubinstein,  Tausig, 


and  Liszt.  B.  Feb.  18,  1855,  Ufa, 
Russia;    settled  in  Vienna,  1872. 

Timb.  Abbreviation  for  TIM- 
BALES.  „^„, 

Timbale.     Fr.     Kettle  DRUM. 

Timballo.    It.    Kettle  DRUM, 


organist,  he  was  admitted  to  the 
Brussels  Conservatory,  where  he  won 
first  piano  prize,  1873,  and  five  years 
later  the  prix  de  Rome  with  his  can- 
tata "Klokke  Roland."  B.  Mar.  27, 
1854,,  Sinay,  Belgium ;  add.  Brussels. 
Tintement.    Fr.    Tinkling  of  a  bell. 


43 


TINTINNABTJLtTM 

Tintinnabulum.  L.  Battle  made 
either  of  small  bells  or  little  plates  of 
metal. 

Tintlnno.    It.    TI2SrTEMBNT. 

Tiorba.    It.    THBEOBO. 

Tipping-  Producing  rapid  staccato 
notes  in  flute  and  trumpet  playing  by 
striking  the  upper  teeth  and  the  hard 
palate  alternately  with  the  tongue; 
double  tongueing. 

Tiraboschi  (Girolamo)  wrote  a  13- 
vol.  history  of  Italian  literature,  1772- 
82,  which  contains  valuable  informa- 
tion regarding  Italian  music.  B.  Dec. 
28,  1731,  Bergamo;  d.  June  3,  1797, 
Modena. 

Tirade.  Filling  up  an  interval  be- 
tween two  notes  with  a  run  in  either 
vocal  or  instrumental  music. 

Tirante.    Sp.    Brace  of  a  drum. 

Tirasse.  Fr.  Organ  peddles  that 
act  on  the  keys  or  manuals. 

Tirato.  It.  "Down  bow";  scale 
passage  in  notes  of  equal  length. 

Tira  Tutto.  It.  Pedal  command- 
ing the  full  power  of  the  organ. 

Tire.  Pr.  Drawn;  "down  bow"; 
drawing  out  of  the  accordion. 

Tirindelli  (Pier  Adolf  o)  composed 
the  one-act  opera  "  Li'Atenaide,"  Ven- 
ice, 1892,  songs;  taught  violin  from 
1887,  Liceo  Benedetto  Mareello,  Ven- 
ice; conducted  Verdi  orchestra;  was 
made  chevalier  of  the  Crown  of  Italy, 
1894;  joined  the  first  violins  of  the 
Boston  Symphony  Orchestra,  1895; 
and  the  following  year  settled  in  Cin- 
cinnati, becoming  head  of  the  violin 
department  in  the  Conservatory  of 
Music;  pupil  of  Milan  Conservatory, 
then  of  Boniforti,  Grun,  and  Massart. 
B.  1858,  Conegliano,  Italy;  add.  Cin- 
cinnati, Ohio. 

Tltl  (Anton  Emil)  composed  a 
lovely  serenade  for  French  horn  and 
flute;  dramatic  works;  conducted.  B. 
1809,  Pernstein,  Moravia;  d.  1882, 
Vienna. 

Titty,  Tziti,  Toutari.  Indian 
BAGPIPE. 

Titze  or  Tietze  (Ludwig)  sang  ten. 
at  the  principal  Vienna  concerts,  at 
which  he  introduced  a  number  of  Schu- 
bert's songs.  B.  April  1,  1797 ;  d.  Jan. 
11,  1850,  Vienna. 

Toccata.  /*.     Prelude  or  overture. 


674  TOLBECQTTE 

The  overture  to  "Orfeo,"  1600,  is  ai 
example  of  a  toccata  meant  to  b< 
played  three  times  before  the  rising  o: 
the  curtain;  compositions  written  ai 
exercises;  a  fantasia;  a  suite. 

Toccatina.    It.    A  brief  TOCCATA 

Todi,  de  Aguiar  (Luiza  Bosa)  san; 
mee.  sop.  in  opera,  debut  in  Lisbon  a 
17,  becoming  the  rival  of  La  Mara  ii 
Paris,  then  the  favourite  of  Empresi 
Catherine  of  Kussia,  causing  the  dis 
missal  of  Sarti  from  his  post  as  chapel 
master  at  St.  Petersburg,  and  in  178( 
becoming  court  singer  in  Berlin;  pupi 
of  David  Perez;  acquired  fortune  o 
more  than  $80,000,  inherited  by  bus 
band  and  children.  B.  about  1748 
Portugal;  d.  1793,  Lisbon. 

Todtenmarsch.  &er.  Fimera 
march. 

Toedt  (Theodore  J.)  sang  ten.  ii 
oratorios,  concerts,  and  New  Yorl 
churches;  boy  chorister  in  Trinit; 
Church,  and  later  pupil  of  Mrs.  Horn 
Rust;  became  blind,  1895.  B.  Feb.  4 
1853,  New  York;    add.  New  York. 

Toeschi  (Carlo  Giuseppe)  com 
posed,  and  court  chapelmaster  at  Mu 
nich;  real  name  Toesca  della  Castella 
Monte.  B.  1724,  Romagna;  d.  1788 
Munich.  Jobann  Baptist  eompose( 
20  symphonies;  played  violin;  sue 
ceeded  his  father  CARLO  GIXTSBPPl 
as  chapelmaster  at  Munich.  B.  abou 
1745,  Mannheim;  d.  1800,  Munich. 

Tofts  (Iffirs.  Catherine)  was  th 
first  English  woman  to  sing  success 
fully  in  opera,  receiving  $2500  for  th 
season  of  1708,  which  was  more  thai 
her  rivals  Valentini,  Margherita  d 
I'Epine  or  The  Baroness  were  paid 
was  probably  a  beauty  since  she  sol 
kisses  to  more  than  30  gentlemen  a 
the  Duke  of  Somerset's  at  $5  apiece 
some  taking  as  many  as  five  kisses  a 
that  rate.  Her  first  appearance  wa 
at  a  concert  in  1703,  London.  At  th 
height  of  her  career  she  became  insan< 
and  was  compelled  to  quit  the  stagf 
Recovering  her  reason  temporarilj 
she  married  Joseph  Smith,  who  wa 
English  consul  at  Venice,  but  agai 
lost  her  reason,  soon  after  settling  i 
that  city.    D.  after  1735. 

Tolbecque  was  the  surname  of  fou 
brothers  of  Belgian  birth  who  distil 


TOLLET 


675 


TONADIIiliA 


guished   themselves   as    musicians   in 
France  after  the  Bourbons  returned  to 
power.      Isadore    Joseph    conducted 
dance  music  and  composed.    B.  April 
17,  1794,  Bfanzinne;  d.  May  10,  1871, 
Vichy.    Jean  Baptiste  Joseph  com- 
posed the  three-act  ballet  (with  Delde- 
vez)   "Vert-Vert,"  Op6ra,  1851,  dance 
music  of  every  kind,  was  conductor  of 
court  balls  to  Louis  Philippe,  and  at 
the  fashionable  Tivoli  Gardens ;  played 
violin.    B.  1797,  Hanzinne;  d.  Oct.  23, 
1869,  Paris.    Auguste  Joseph  played 
violin  with  distinction  at  the  Op6ra, 
the  Concerts  du  Conservatoire,  and  at 
Her  Majesty's  Theatre,  London;  prize 
pupil  of  Kreutzer,  Paris  Conservatoire, 
1821.    B.  Feb.  28,  1801,  Hanzinne;  d. 
Paris,  May  27,  1869.    Charles  Joseph 
composed  songs  and  dramatic  music; 
conducted  at  the  Varifitfis  from  1830 ; 
played  violin  at  Concerts  du  Conserva- 
toire; prize  pupil  the  Paris  Conserva- 
toire.   B.  May  27,  1806,  Paris;  d.  Deo. 
29,  1835,  Paris.    Auguste  wrote  "  La 
Gymnastique  du  Violoncelle,"  a  valu- 
able  set   of  exercises;    composed   the 
comic  opera  "  Aprfes  la  Valse  " ;  played 
'cello;    prize    pupil,    Paris    Conserva- 
toire.   B.  Mar.  30,  1830,  Paris;  son  of 
AUGUSTE  JOSEPH;  d.  Niort,  1895. 
Jean  played  'cello ;  pupil  of  Paris  Con- 
servatoire, where  he  won  first  'cello 
prize,  1873.     B.  Oct.  7,  1857,  Niort; 
son  of  AUGUSTE;  add.  Paris. 

Toilet  (Thomas)  composed  "Toi- 
let's Ground,"  a  three-part  consort, 
dramatic  music;  wrote  a  method, for 
flageolet;  published  music  in  London 
from  1694  with  John  Lenton. 

Tomaschek  (Wenzel)  composed 
"Eklogues,"  a  "Dithyramb,"  Op.  65, 
"Seraphine,"  and  other  operas;  a 
Missa  Solemnis  in  B  flat.  Requiems, 
songs;  played  organ  and  piano;  was 
the  friend  and  admirer  of  Beethoven, 
and  an  excellent  teacher;  in  boyhood 
pupil  chorister  of  the  Minorite  Fathers 
of  Iglan,  later  law  student  in  Prague, 
where  he  finally  became  chapelmaster 
to  Count  von  Longueval;  real  name 
Jan  Vficlav  Tomftsek.  B.  April  27, 
1774,  Skutsch,  Bohemia;  d.  April  3, 
1850,  Prague.  .     v    ,       j 

Tomaslni  (Luigi  Aloysius)  played 
violin  in  quartets  which   Haydn  com- 


posed for  him;  was  first  violin  in 
Haydn's  band  in  the  Esterhazy  palace ; 
composed  violin  music  which  he  dedi- 
cated to  Haydn,  and  played  at  the 
best  Vienna  concerts.  B.  1741,  Pesaro; 
d.  April  25,  1808.  Luigi  played  violin, 
became  chapelmaster  to  the  Duke  of 
Mecklenberg-Strelitz.  B.  Esterhaz, 
1779;  son  of  LUIGI  ALOYSIUS;  d. 
after  1814.  Anton  played  viola;  led 
the  Eisenstadt  orchestra  from  1820. 
B.  1775,  Eisenstadt;  son  of  LUIGI 
ALOYSIUS;  d.  June  12,  1824,  Eisen- 
stadt. 

Tomhelle,  de  la  (Ferdinand)  com- 
posed string  quartet  and  symphony, 
first  prize.  Society  des  Compositeurs; 
pupil  of  Guilmant  and  Dubois,  Paris 
Conservatoire.  B.  Aug.  3,  1854,  Paris ; 
add.  Paris. 

Tombestere  or  Tymbestere.  Old 
Eng.,  Female  dancer  who  accompanied 
herself  with  a  tambourine. 

Tomkins  (Bev.  Thomas)  composed 
"  The  faunes  and  satyrs  tripping,"  in- 
cluded in  the  "  Triumphes  of  Oriana," 
1600;  chanter  and  minor  canon, 
Gloucester  Cathedral.  John  played 
organ  King's  College,  Cambridge; 
sang  Eng.  Chapel  Royal;  in  boyhood 
chorister  Gloucester  Cathedral,  and 
pupil  of  his  father,  REV.  THOMAS. 
D.  Sept.  27,  1638.  Thomas  composed 
madrigals,  services,  anthems,  played 
organ  Worcester  Cathedral  and  Eng. 
Chapel  Royal;  son  and  pupil  of  REV. 
THOMAS.  D.  June,  1656.  Giles 
played  organ.  King's  College,  in  suc- 
cession to  his  brother  JOHN,  and  later 
Salisbury  Cathedral.  D.  1668.  Rob- 
ert became  one  of  the  King's  musi- 
cians, 1641 ;    son  of  JOHN. 

Tomlins  (William  Lawrence) 
wrote  "  Children's  Songs  and  How  to 
Sing  Them";  taught  music  in  Chicago; 
conducted  Chicago  Apollo  Club;  pupil 
of  Macfarren  and  Silas.  B.  Feb.  4, 
1844,  London;  add.  Chicago. 

Tom-tom.  Indian  DRUM;  Chinese 
GONG. 

Ton.  Ger.  and  Fr.  "  Tone  ";  inter- 
val of  a  second. 

Tonabstand.     Ger.    INTERVAL. 
Tonada.    8p.    Tune,  air,  or  melody. 
Tonadilla.     8p.    Short  tune,  inter- 
lude, ritornello,  symphony  to  a  song. 


TONAL   rUGTJE 


676 


TONS  DE   L'igGLISE 


Tonal  Fugue.  FUGUE  based  on  a 
tone  or  MODE. 

Tonarion  or  Tonarium.  L.  Ac- 
cording to  Quintilian,  a  pitch  pipe 
used  by  Latin  speakers  to  regulate  the 
pitch  of  their  voices,  also  called  fistula 
eburneola.  Dionysius  limits  the  com- 
pass of  the  oratorical  voice  to  five 
notes.  To  enable  the  orator  to  re- 
cover his  pitch,  the  attendant  blevr  the 
tonarion     when     this     compass     was 

6XC66d6d 

Tonart.  Qer.  KEY,  MODE,  TUNE, 
SCALE  system. 

Tonausweicbung.  Qer.  MODU- 
LATION. 

Ton  Bas.    Fr.    Deep,  low  tone. 

Tondichtung.  Qer.  Musical  com- 
position or  "  Sound  poem." 

Tondicter.  Qer.  Composer  or  poet 
in  sounds,  often  incorrectly  called 
"  tone  poet." 

Tone.  Sound,  possessing  musical 
quality;  full  interval  of  two  semi- 
tones; Gregorian  chant;  church 
MODE. 

Tonfalge.  Oer.  Succession  of 
sounds  or  a  melody. 

Tonfall.     Oer.    Cadence. 

TonfUhrung.  Qer.  Tuneful  suc- 
cession of  sounds.    MODULATION. 

Tonfuss.     Ger.    FOOT  METRE. 

Tongang.     Qer.    TONFUHRUNG. 

Ton-GSnerateur.     Fr.    ROOT. 

Tongesohlect.  Oer.  Character  of 
the  keys,  major  or  minor. 

Ton  Haut.    Fr.    Acute  sound. 

Tonic  or  Tonica.  /*.  Keynote, 
ground-tone  or  basis  of  any  scale  or 
key;  fundamental  key  in  which  a  com- 
position is  written  and  with  which  it 
ends. 

Tonic  Sof-fa.  Method  of  teaching 
singing  on  the  solmisation  basis,  sub- 
stituting a  "Movable  Do"  for  the 
Guidonian  UT,  and  intended  to  em- 
phasize key  relationship.  The 
CHEVE,  GALIN-CHEVE,  GLOVER, 
and  CURWEN  systems  all  have  the 
disadvantage  of  subtituting  a  form  of 
notation  differing  from  that  in  uni- 
versal use,  but  these  various  methods 
have  been  spread  into  many  parts  of 
the  world  through  the  medium  of  the 
public  schools.  As  the  teaching  of  mu- 
sic to  children  in  public  schools  is  of 


minor  importance  at  best,  and  can 
only  be  regarded  as  ornamental  and 
incidental  to  the  Three  R's  it  would 
seem  that  the  introduction  of  two 
systems  can  lead  only  to  confusion, 
and  that  until  an  ecumenical  council 
of  musicians  shall,  have  repudiated  the 
staff  system  of  NOTATION,  it  would 
be  well  to  familiarize  the  children  with 
the  written  characters  in  which  the 
works  of  the  masters  are  recorded. 

Tonic  Sol-fa  College,  London,  was 
founded  by  John  CURWEN,  1869,  as 
a  training  school  for  teachers  of  the 
Tonic  Sol-fa  system  and  as  the  head- 
quarters for  propaganda. 

Tonique.     Fr.    TONIC. 

Tonkunst.  Qer.  Art  and  science 
of  music. 

Tonkiinstler.     Oer.    Musician. 

Tonkiinstler  Verein  or  Societat. 
Qer.  "  Musical  Art  Society."  Many 
organizations  of  this  name  exist  in 
Germany  and  America.  Of  those  in 
Germany,  that  founded  in  Dresden, 
1854,  as  an  outgrowth  of  Richard 
Pohl's  chamber  music  concerts,  and 
the  Societat  in  Vienna  were  among 
the  most  important.  In  New  York  the 
Society  was  composed  of  professional 
musicians  who  gave  subscription  con- 
certs during  the  season  alternating  be- 
tween the  Manhattan  and  Brooklyn 
boroughs  of  New  York.  Performances 
of  new  works  from  manuscript  were  a 
feature  of  these  concerts. 

Tonleiter.  Qer.  SCALE,  literally 
"tone  ladder." 

Ton  Slajeur.    Fr.    Major  key. 

Tonmalerei.  Qer.  Composition, 
invention. 

Tonmessung.  Qer.  Metre,  tone 
measuring,  rhythm. 

Ton  IVIineur.    Fr.    Minor  key. 

Tonos.     Ok.    Whole  tone. 

Tonsatz.  Oer.  Musical  compo- 
sition. 

Tonschluss.     Qer.     CADENCE. 

Tonschliissel.  Qer.    KEY,  clef. 

Tonsclirift.  Qer.  Written  musical 
notes  or  characters  in  NOTATION. 

Tons  de  la  Trompette.  Fr. 
Crooks  used  to  alter  the  pitch  of  a 
trumpet. 

Tons  de  I'eglise.  Fr.  Church 
MODES  or  tones. 


TONSETZEB 


677 


TOSELLI 


Tonsetzer.  Qer.  Composer  or 
"  music  maker." 

Tonsetzung.  Ger.  Art  of  musical 
composition. 

Tonspieler.    Ger.    Player  of  music. 

Tonsprache.  Ger.  Expressing 
thoughts  and  emotions  in  music. 

Tonstiick.  Ger.  Musical  work  or 
composition. 

Tonstuf  e.  Ger.  Step  or  degree  of 
a  scale. 

Tonsystem.  Ger.  Arrangement  of 
sounds  following  the  rules  of  harmony, 
melody,  and  rhythm;  scale. 

Tonverhalt.  Ger.    Rhythm. 

Tonzeichen.  Ger.  Note,  character 
or  ACCENT  used  in  musical  NOTA- 
TION. 

Toomourali.  Indian  TAMBOUR- 
INE. 

Toorooree.  Brahmin  trumpet  used 
in  religious  processions. 

Topfer  (Johann  Gottlieb)  com- 
posed, played  organ,  and  wrote  on 
music.  B.  1791,  Niederroasla,  Thu- 
ringia ;  d.  1870,  Weimar. 

Toph.  Heh.  Small  hand-drum; 
TABOR,  TAMBOURINE. 

Torcelli.  It.  Old  name  for  organs 
in  Italy.  - 

Torchi  (Luigi)  began  a  34  vol.  col- 
lection of  early  Italian  music,  1896,  to 
be  known  as  "  L'arte  musicale  in 
Italia";  composed  an  overture,  a 
string  quartet,  a  symphony;  taught 
history  of  music,  Liceo  Rossini,  Pe- 
saro,  later  at  Bologna  Conservatory, 
where  he  became  professor  of  compo- 
sition, 1895;  pupil  of  the  Bologna, 
Naples,  and  Leipsic  Conservatories. 
-B.  Nov.  7,  1853,  Mordano,  Bologna; 
add.  Bologna. 

Torelli  (Giuseppe)  was  first  to 
apply  sonata  form  to  concerted  music, 
as  proved  by  his  "  Concerto  grossi," 
Op.  8,  3ologna,  1709;  played  violin; 
was  chapelmaster  at  Anspach,  1701. 
B.  yerona,  about  1660;  d.  1708, 
Anspach. 

Qlorquato  Tasso.  Gaetano  Doni- 
zetti's four-act  lyric  drama,  to  book  by 
Ferretti,  was  first  performed,  1833,  at 
the  Teatro  Valle,  Rome. 

Torrance  (Rev.  Dr.  George  Wil- 
liam) composed  the  oratorios  "  The 
Captivity"  to  Goldsmith's  text;  "  The 


Revelation,"  Melbourne,  Australia, 
1882;  wrote  "  Cathedrals,  their  consti- 
tution and  functions  " ;  was  rector  of 
Holy  Trinity  Church,  Balaclava,  near 
Melbourne,  and  later  of  St.  John's, 
Melbourne.  Chorister  at  Christ 
Church  Cathedral,  Dublin,  he  later 
played  organ  in  several  Dublin 
churches,  composed  church  music,  and 
at  19  his  first  oratorio,  "Abraham." 
In  1856  he  studied  in  Leipsic  for  a 
time,  and  returning  to  London,  pub- 
lished his  opera  "  William  of  Nor- 
mandy." Having  taken  orders  in-  the 
Anglican  Church,  he  settled  in  Aus- 
tralia, 1869.  Ten  years  later  he  re- 
ceived his  doctor's  degree  from  Dublin, 
and  in  ,1880  was  president  of  the  Mel- 
bourne "  Social  Science  Congress,"  be- 
fore which  he  delivered  an  address  on 
music.  B.  1835,  Rathmines,  near  Dub- 
lin; add.  Melbourne. 

Torrington  (Francis  Herbert) 
founded  the  Toronto  (Can.)  College 
of  Music,  1888,  organized  and  con- 
ducted the  first  music  festival  in  that 
city,  conducted  the  Toronto  Philhar- 
monic Society;  played  organ  from 
1873,  Metropolitan  Church,  Toronto. 
Pupil  of  Fitzgerald,  he  was  organist 
at  Bewdley  at  16,  and.  from  1856  to 
1868  organist  of  Great  St.  James's 
church,  Montreal.  There  he  organized 
an  orchestra  with  which  he  repre- 
sented Canada  at  the  Boston  Peace 
Jubilee,  1869,  settled  in  Boston  as 
teacher.  New  England  Conservatory, 
and  violinist  the  Handel  and  Haydn 
Society.  B.  Oct.  20,  1837,  Dudley, 
Eng. ;  add.  Toronto,  Can. 

Torvaldo  e  Dorliska.  G.  A.  Ros- 
sini's two-act  opera,  to  book  by  Ster- 
bini,  was  first  performed  Dec.  26,  1815, 
at  the  Teatro  Valle,  Rome. 

Toscanini  (Arturo)  conducted 
opera  at  La  Scala,  Milan,  and  became 
conductor  at  the  Metropolitan  Opera 
House,  New  York,  1908,  under  the 
Gatti-Casazza-Dippel  administration ; 
pupil  of  Milan  Conservatory.  B.  Italy; 
add.  New  York. 

Toselli  (Enrico)  played  piano, 
touring  Europe  with  success,  and  in 
1901,  England  and  America;  then  be- 
came music  master  to  the  children  of 
the  Crown  Prince  of  Saxony  ( the  pres- 


TOSI 


678 


TOURTE 


ent  King) ,  and  in  1907  eloped  with  the 
Crown  Princess  (Louise  of  Belgium), 
whom  he  married  after  her  divorce; 
pupil  of  Sgambati  and  Martucci ;  debut 
at  Monte  Carlo,  1896.  B.  1877,  Flor- 
ence; add.  Greneva. 

Tosi  (Pier  Prancesoo)  sang  con. 
in  opera  with  success ;  taught  singing 
in  London,  and  when  past  70  wrote  a 
useful  book  Icnown  in  Eng.  trans,  as 
"  Observations  on  the  Florid  Song,  or 
sentiments  of  ancient  and  modern 
singers,"  London,  1742,  which  was  also 
printed  in  the  original  Italian  and  in 
German.  B.  about  1647,  Bologna;  d. 
1727,  London. 

Tostamente.    /*.    Quickly,  rapidly. 

ToBti  (Francesco  Paolo)  composed 
the  very  popular  songs  "  Farewell," 
"Aprile,"  "For  Ever,"  "Mother," 
"  At  Vespers,"  "  Amore,"  "  That  Day," 
"  Vorrei  morire,"  "  Non  m'ama  piu," 
"  Lamento  d'amore,"  four  vocal  al- 
bums, and  the  collection  of  "  Canti 
popolari  Abruzzesi,"  besides  many 
songs  to  French  text.  Pupil  of  the 
San  Pietro  a  Majella,  Naples,  he  was 
made  assistant  teacher  by  Mercadante, 
and  in  1869  visited  Rome,  where  he 
disposed  of  some  songs,  and  was  given 
substantial  assistance  by  Sgambati, 
who  wrote  a  ballad  for  him  to  sing  at 
a  concert  in  the  Sala  Dante.  The  re- 
sult was  his  appointment  as  singing 
master  to  the  princess  who  later  be- 
came Queen  Margherita,  and  in  1880, 
he  became  singing  master  to  the  royal 
family  of  England.  From  1894  he 
taught  in  the  Royal  College  of  Music. 
B.  April  9,  1846,  Ortona,  Abruzzi;  add. 
London. 

Tostlssamamente,  Tostissimo.  It, 
With  great  rapidity. 

Tosto.  It.  Rapid,  swift,  as  piu, 
more  rapid. 

Tottmann  (Carl  Albert)  composed 
the  melodrama  "  DornrSschen,"  an  Ave 
Maria ;  played  violin  the  Gewandhaus, 
and  was  made  royal  professor  for  his 
compendium  of  violin  literature; 
taught  history  and  theory,  pupil  Leip- 
sic  Conservatory.  B.  July  31,  1837, 
Zittau;  add.  Dresden. 

Touch.  Resistance  made  to  the 
fingers  by  the  keys  of  a  piano  or 
organ,  making  the  tone  aualitv  lisrht. 


heavy,  clumsy,  or  firm;  a  player' 
touch  is  his  style  or  method  o 
performance. 

Touches.  Fr.  Keys  of  a  pianc 
organ,  harmonium,  or  concertina. 

Touquet.  Fr.  TOCCATO  o 
TUCKET. 

Toulemouclie  (Prangois)  composei 
operettas;  directed  the  Paris  Theatr 
Menus  Plaisirs  from  1894;  pupil  o 
Victor  Masse.  B.  Aug.  3, 1850,  Nantes 
add.  Paris. 

Tourjee  (Dr.  Eben)  founded  th 
NEW  ENGLAND  CONSERVATOR! 
OF  MUSIC,  1867,  the  first  institutioi 
of  its  class  in  America,  and  in  1901 
one  of  the  best;  taught  successfully 
and  played  organ.  In  boyhood  h 
sang  in  the  choir  of  the  Methodis 
church  at  East  Greenwich,  R.  I.,  be 
came  organist  there  at  13,  was  clerl 
for  a  time  in  a  Providence  music  shop 
and  at  17  opened  a  shop  of  his  owi 
in  Pall  River,  Mass.,  and  in  1853  be 
came  organist  and  choirmaster  at  01( 
Trinity,  Newport.  In  1863  he  visitec 
Europe  for  study,  and  on  his  returi 
established  the  Providence  Conserva 
tory  of  Music,  then  settling  in  Boston 
B.  June  1,  1834,  Warwick,  R.  I.;  d 
1890,  Boston,  Mass. 

Tours  (Berthold)  composed  a  ser 
vice  in  F,  an  Easter  Anthem,-and  othei 
church  music,  songs,  and  piano  pieces 
edited  Novello  publications;  playe( 
violin.  B.  Rotterdam,  Dec.  17,  1838 
d.  Mar.  11,  1897,  London. 

Tours  de  force.  Fr.  Passages  o 
extreme  difficulty  to  be  rapidly  playec 
or  sung. 

Tourte  (FranQois)  invented  th 
modern  violin  bow  about  1775,  mak 
ing  the  technique  of  the  instrumen 
more  elaborate  and  more  certain,  an( 
setting  the  standard  of  shape  whicl 
has  since  been  followed,  the  old  bov 
resembling  the  weapon  from  which  i' 
took  its  name  and  from  which  it  wai 
probably  derived.  Viotti,  who  was  th( 
first  great  violinist  to  adopt  Tourte'i 
bow,  may  have  advised  its  maker,  bu 
it  is  the  consensus  of  opinion  amonf 
violinists  that  Tourte's  bows  were  an( 
are  the  best  in  the  world.  The  bowi 
sold  in  1908,  according  to  quality  an( 
condition,  at  from  $25  tn  !tSl.<iO  each 


TOWERS 


679 


TBANSFONIBEN 


the  maker's  price  having  been  less  than 
half  that  amount.  Tourte's  father  and 
his  elder  brother,  Xavier,  were  also 
bow  makers.  B.  1747,  Paris;  d.  1835, 
Paris. 

Towers  (John)  conducted  English 
choral  societies;  played  organ  and 
taught  in  Manchester;  wrote  criti- 
cisms and  pamphlets;  chorister  Man-  • 
Chester  Cathedral;  pupil  of  Royal 
Academy  of  Music,  London,  and  of 
A.  B.  Marx,  Berlin.  B.  Feb.  18,  1836, 
Salford,  Eng. 

Toy  Symphony.  English  name  for 
the  Haydn  symphony  called  Kinder- 
symphonie  by  the  Grermans,  scored  for 
two  violins,  doublebass,  and  seven 
toys,  such  as  "  cuckoos,"  "  quail," 
whistle,  triangle,  trumpet,  and  drum. 
It  is  said  that  at  the  first  rehearsal, 
1788,  the  famous  orchestra  at  Esterhaz 
could  not  keep  time  for  laughing. 
Other  works  of  this  character  written 
by  Komberg  and  Mendelssohn  have 
been  lost.  Franklin  Taylor  wrote  a 
symphony  for  piano  and  toys,  and 
R.  Strauss  has  attempted  something 
of  the  kind  in  his  "  Symphonia 
Domestica." 

Toys.  Old  Eng.  Dance  tunes  or 
inferior  compositions. 

Trachea.  Windpipe  connecting  the 
lungs  and  the  LARYNX. 

Trackers.  Part  of  the  'connecting 
apparatus  in  the  action  of  the 
ORGAN. 

Tractur.     Ger.    TRACKERS. 

Tractus.  L.  Melody  used  instead 
of  the  Alleluia  in  the  Roman  Catholic 
Church  during  Lent. 

Tracy  (Kinnie)  sang  sop.  in  opera, 
Heinrich's  Opera  Company,  Philadel- 
phia; at  Geneva,  and  with  the  Amer- 
ican Opera  Company,  Metropolitan 
Opera  House,  New  York,  1900.  B. 
New  York. 

Tradotto.  It.  Transposed,  ar- 
ranged. ,    ,    _ 

Traetta  (Tommaso  Michele  Fran- 
cesco Saverio)  composed  the  opera 
"  Farnace,"  Naples,  1751,  "  Iflgenia  m 
Aulide,"  1759,  Vienna;  "Armida,^^ 
1760,  Vienna;  "  Ifigenia  in  Taunde,  _ 
Milan,  1768;  "  Gli  Eroi  ad  ei  Campi 
Elisi,"  Venice,  1779,  and  in  all  30 
operas,  besides  a  Stabat  Mater,  ora- 


torios, and  other  religious  music;  was 
chapelmaster  to  the  Duke  of  Parma; 
life  pensioner  of  Charles  III  of  Spain, 
and  from  1765  principal  of  the  Veni- 
tian  Conseratorio  dell'  Ospedaletto, 
afterwards  visiting  St.  Petersburg, 
where  he  was  chapelmaster  to  Cath- 
erine II  for  a  time,  then  London,  and 
returning  to  Italy;  pupil  of  Durante 
at  the  Conservatorio  di  Sta.  Maria 
di  Loreto,  Naples.  B.  Mar.  30,  1727, 
Bitonto,  Naples,  sometimes  called 
"Trajetta";.  d.  April  6,  1779,  Venice. 
Filippo  or  Philippe  Trajetta  com- 
posed the  opera  "The  Venetian 
Maskers,"  oratorios;  wrote  a  vocal 
method;  was  exiled  in  l799  and  set- 
tled in  Philadelphia,  Pa. ;  son  of  T.  M. 
F.  S.  B.  1777,  Venice;  d.  1854, 
Philadelphia. 

Traine.  Fr.  Slurred,  bound;  a 
slow  waltz. 

Trait.  Pr.  Passage,  phrase,  se- 
quence, or  rule  as  de  chant,  melodious 
vocal  phrase;  des  violons,  passage 
for  strings,  as  in  Beethoven's  No.  3 
"  Leonora  "  overture ;  d'harmonie, 
sequence  in  harmony,  d'octave,  rule 
of  the  octave. 

Traite.  Fr.  Book  on  theory  or 
practice  of  music. 

Tranquillamente.  It.  TrtCnquilly, 
calmly. 

Tranquillita,  con.  It.  With  tran- 
quillity. 

Transcription.  Arrangement  of  _  a 
composition  for  an  instrument  or  voice 
other  than  the  one  for  which  it  was 
written. 

Transient  Modulation.  Notes  or 
chords  or  MODULATIONS  used  tem- 
porarily, introduced  from  an  unre- 
lated key. 

Transitio.    L.    Change  of  key. 

Transition.  Modulation  or  a  pass- 
ing note. 

Transitus.  L.  Progression  by 
passing  notes,  as  regularis,  diatonic 
progression,  the  passing  notes  on  the 
unaccented  portions  of  the  measure; 
irregularis,  progression  where  some 
of  the  notes  of  scale  are  omitted,  the 
passing  notes  on  the  accented  part  of 
the  measure. 

Transponiren.  Ger.  TRANSPO- 
SITION from  the  original  key. 


TSANSPONIREITDE  680  a?RAVIATA 

Transponirendelnstrumente.  Ger.       Traverse.     It.     TRAVERSIERE. 
TRANSPOSING  INSTRUMENTS.  Traviata.     Giuseppe  Verdi's  three- 

Transpose.  Raising  or  lowering  act  opera,  to  book  by  Piave,  based  on 
the  key  in  which  a  piece  is  written.       the  younger  Dumas's  "  Camille,"  was 

Transposing  Instruments  are  first  performed  Mar.  6,  1853,  at  Ven- 
those  such  as  horns,  clarinets,  trum-  ice.  The  original  cast  was  Violetta 
pets,  and  drums,  for  which  the  music  Valery,  Mme.  Donatelli,  sop. ;  Flora 
is  written  in  a  different  key  from  that  Bervoix,  sop. ;  Georgio  Germont,  Va- 
in which  they  may  be  required  to  play.  •  vesi,  bar. ;  Alfredo  Germont,  ten. ; 
At  various  times  a  number  of  organ  Gastone  de  Letorieres,  ten.;  Dottore 
builders  and  piano  makers  have  de-  Grenvil,  bass ;  Marquis  d'Obigay,  bass, 
signed  transposing  instruments.  The  The  first  act  opens  in  the  home  of 
last  invention  of  this  kind,  1873,  was  Violetta,  a  consumptive  member  of 
that  of  Auguste  Wolff,  of  Pleyel,  the  demi-monde  who  is  entertaining 
Wolff,  et  Cie,  Paris.  It  consisted  of  an  some  friends  at  supper,  including  Al- 
independent  false  keyboard,  called  a  fredo  and  Gastone.  Alfredo  proclaims 
Transpositefir,  to  be  placed  over  the  his  passion  with  such  evident  sincerity 
keyboard  of  a  piano,  after  which  it  as  to  arouse  a  similar  feeling  in  Vio- 
could  be  shifted  through  every  semi-  letta.  In  the  second  act  Violetta  and 
tone  in  the  octave.        '  Alfredo  have  sought  the  seclusion  of 

Transposition.  Change  of  key;  in-  the  country,  but  Alfredo's  dream  of 
version  of  parts  in  counterpoint.  bliss  is  somewhat  marred  by  the  in- 

Trascinando.    It.    Dragging  or  de-    discretion  of  Violetta's  maid,  who  in- 
laying the  time.  forms  him  that  she  has  been  pawn- 
.  Trascritto.      It.      Transcribed    or   ing  her  mistress's  gems  to  keep  up  the 
copied.                                                          household  expenses.     He   leaves  sud- 

Trasuntino  (Vito)  made  a  harpsi-  denly  for'  Paris  in  search  of  funds, 
chord  adapted  for  the  diatonic,  chro-  Violetta  receives  a  note  from  Flora,  in- 
matic,  and  enharmonic  genera  of  Greek  viting  her  to  return  to  Paris,  where 
music,  and  therefore  provided  with  32  all  of  her  friends  pine  at  her  absence, 
digitals  to  the  octave;  also  made  Then  Alfredo's  father  enters  to  beg 
organs  "and  all  varieties  of  quilled  that  Violetta  will  give  up  his  son,  as 
instruments,  dated  from  Rome  and  the  scandal  is  interfering  with  the 
Venice,  1555  to  1606.  marriage  of  Alfredo's  sister.    Though 

Trauermarsh.  Oer.  Funeral  wrung  with  anguish,  Violetta  agrees, 
march.  writes  a  letter  of  farewell,  and  a  mo- 

Trautwein  (Traugott)  founded  a  ment  later  has  a  pathetic  interview 
music  publishing  house  in  Berlin,  with  Alfredo,  who  has  just  returned, 
1820,  to  which  J.  Guttentag  and  then  rushes  away  from  the  house.  Al- 
Martin  Bahn  in  turn  succeeded.  fredo  reads  her  letter  and  determines 

Travenol  (Xonis)  played  violin  in  to  revenge  himself,  but  the  father  ap- 
Paris,  and  was  chiefly  known  from  pears  and  reminds  him  of  his  duties 
having  involved  Voltaire  in  legal  diffi-  at  home.  The  scene  shifts  to  Flora's 
culties  after  a  bitter  quarrel.  B.  1698,  house  in  Paris,  where  a  masquerade  is 
Paris;    d.  1783,  Paris,  being  held.     Alfredo  denounces  Vio- 

Travers  (John)  composed  canzo-  letta  as  a  mercenary  wretch,  and  to 
nets  for  two  and  three  voices,  to  words  cap  the  climax  of  insults,  throws  Ms 
by  Matthew  Prior,  a  service  in  F,  Te  purse  at  her.  Violetta  faints  with 
Deum;  chorister  St.  George's,  Wind-  mortification  and  grief  as  Alfredo's 
sor,  then  pupil  of  Greene  and  Pepusch,  father  again  makes  an  opportune  ap- 
and  in  1737  organist  Eng.  Chapel  pearance  and  leads  his  son  away.  The 
Royal.    D.  1758.  third  act  reveals  Violetta  on  her  death- 

Traversiere.  Fr.  Across,  as  Flute,  bed  reading  a  letter,  in  which  Al- 
the  flute  held  crossways;  the  flute-a-  fredo's  father,  touched  by  the  evident 
bee  being  blown  with  a  mouthpiece  sincerity  of  her  love  for  his  son,  tells 
like  the  oboe.  her  that  he  -has  written  him  to  return. 


THE 


681 


TREVILLE 


A  moment  later  Alfredo  enters,  and 
there  is  a  rapturous  reunion  which  is 
soon  terminated  by  death,  at  which  the 
Doctor  and  Alfredo's  father  are  pres- 
ent. The  opera  has  had  almost  un- 
rivalled popularity,  although  the  lyric 
stage  hardly  affords  a  more  ludicrous 
spectacle  than  the  death  scene  of  the 
consumptive  demi-mondaine,  who,  from 
Donatelli  to  Sembrich,  has  been  im- 
personated by  decidedly  plump  prima 
donnas.  The  principal  musical  num- 
bers are :  Act  I :  drinking  song,  "  Li- 
biamo,  Libiamo,"  first  sung  by  Alfredo, 
then  by  Violetta,  and  then  by  chorus; 
"Ah!  fors  e  lui,"  Violetta.  Act  II: 
"De'  miei  bollenti,"  Alfredo;  "  Pura 
siccome  un  angelo,"  Violetta ;  "  Di  pro- 
venza  il  mar,"  Germont.  Act  III: 
"Addio!  del  passato,"  Violetta; 
"Largo  al  quadrupede,"  chorus;  "Par- 
rigi,  caro,"  Alfredo  and  Violetta; 
"Ah!  gran  Dio,"  Violetta  and  quin- 
tet finale. 

Tre.  It.  Three,  as  a  voci,  for  three 
voices;    a  parte,  three  parts. 

Trebelli  (Zelia  Guillebert)  sang 
mez.  sop.  in  opera,  debut  at  Madrid, 
and  thereafter  a  popular  Rbsina,  Azu- 
cena,  Urbano,  etc.,  throughout  Europe 
and  America,  her  rSles  culminating 
with  Carmen;  pupil  of  Wartel.  B. 
1838,  Paris;  m.  Bettini,  1863;  di- 
vorced;   d.  Aug.  18,  1892,  Entretat. 

Treble.  Highest  vocal  or  instru- 
mental part  sung  by  women  or  boys, 
or  played  by  violins,  flutes,  oboes, 
clarinets,  and  other  instrxmients  of 
acute  pitch.  The  treble  or  SOPRANO 
voice  is  the  most  flexible  of  all  vocal 
registers,  its  ordinary  compass  is  from 
middle  C  upwards  to  a  twelfth,  or  in 
exceptional  cases  to  a  fifteenth  or  even 
higher. 

Treble  Clef.  G  CLEF  on  the  sec- 
ond line  of  the  stave,  used  for  treble 
voices  and  instruments  of  medium  or 
high  pitch,  such  as  violins,  flutes, 
oboes,  clarinets,  horns,  and  trumpets. 

Tree  (Anna  Maria)  sang  sop.  with 
success,  debut  as  Polly  in  «  The  Beg- 
gar's Opera,"  Nov.  13,  1818,  Bath, 
later  in  London  in  the  Reynolds  and 
Bishop  musical  versions  of  Shake- 
speare. B.  1802,  London;  d.  Feb.  17, 
1862,  London. 


Treitschke    (Georg    Priedricli) 

made  the  final  and  successful  adapta- 
tion of  the  book  of  Beethoven's  "  FI- 
DELIO,"  and  adapted  many  other 
French  opera  books  for  the  German 
stage.  B.  Aug.  29,  1776,  Leipsip;  d. 
June  4,  1842,  Vienna.  Magdalene  de 
Caro  was  famous  as  a  dancer;  pupil 
of  Noverre.  B.  April  25,  1788,  Civita 
Vecchia;  m.  GEORG  FRIEDRICH;  d. 
Aug.  24,  1816,  Vienna. 

Trem.  Abbreviation  of  TRE- 
MANDO  and  TREMOLANDO. 

Tremolando.  It.  Trembling  or 
wavering  tone  produced  by  playing  or 
bowing  with  great  rapidity,  or  a  vi- 
brato arising  from  nervousness  or  bad 
production  of  vocal  tone,  often  used  to 
produce  a  special  eflTect. 

Tremolent  br  Tremulent.  Organ 
and  harmoniimi  stop  causing  the  air 
proceeding  to  the  pipes  or  reeds  to 
pass  through  a  valve  with  a  mbvable 
top  to  which  a  spring  and  weight  are 
attached.  The  up  and  down  movement 
of  the  top  of  the  valve  gives  a  vibra- 
tory movement  to  the  air,  and  it  in 
turn  similarly  affects  the  sound  pro- 
duced. American  organs  have  a  fan- 
wheel  which  rotates  in  front  of  the 
wind  chest  and  causes  a  tremolando. 

Tremore  or  Tremoroso.  /*. 
TREMOLANDO. 

Trenchmore.  Old  English  country 
dance  or  Hey-de-guy  of  a  lively  char- 
acter, mentioned  by  Dr.  Burton  in  his 
"Anatomy  of  Melancholy,"  1621,  and 
by  several  of  the  dramatic  writers  of 
Queen  Elizabeth's  time. 

Trenise.  Pr.  Fourth  figure  in  a 
quadrille. 

Trento  (Vittorio)  composed  "  Mas- 
tino  della  Scala"  and  other  highly 
successful  ballets,  20  operas,  "The 
Deluge,"  "The  Maccabees,"  and  other 
successful  oratorios;  was  impresario 
at  Amsterdam,  1806,  and  in  Venice, 
1824.    B.  Venice,  1761  or  1765.       • 

Tres.  Fr.  Very,  as  Anime,  very 
animated,  vif,  very  lively. 

Treville,  de  (Yvonne  le  Gierce) 
sang  sop.  in  Castle  Square  Opera  Com- 
pany; studied  in  Paris;  sang  in 
Madrid,  1901,  Paris  Op6ra  Comique, 
1902;  pupil  of  Marches!.  B.  Texas; 
add.  Paris. 


TBIAB 


683 


TRIPLET 


Triad.  Chord  of  tliree  notes  or 
common  chord,  either  major,  minor, 
augmented,  or  diminished. 

Trial  (Jean  Claude)  .  composed 
"Esope  a  Cythere,"  1766,  and  other 
one-act  operas  produced  at  the  Paris 
Opfira,  of  which  he  was  manager  with 
Berton  from  1767 ;  pupil  of  the  Avig- 
non MaStrise.  B.  Dee.  13,  1732,  Avig- 
non;' d.  June  23,  1771,  Paris.  An- 
toine  was  for  30  years  highly  popular 
as  comic  ten.,  but  was  devoted  to 
Robespierre,  and  at  the  end  of  the 
Terror  was  compelled  to  sing  his  re- 
cantation by  a  mob,  arid  this  drove  him 
insane.  B.  1736,  Avignon;  brother  of 
JEAN  CLAUDE;  committed  suicide, 
Feb.  5,  1795.  Marie  Jeanne  Milon 
Mandeville  sang  sop. ;  m.  ANTOINE. 
Armand  Emmanuel  composed  "  Ju- 
lien  et  CoUete,"  1788,  and  other  suc- 
cessful operas  for  the  Comedie  Italien, 
but  killed  himself  in  dissipation.  B. 
Mar.  1,  1771,  Paris;  son  of  AN- 
TOINE;   d.  Sept.  9,  1803,  Paris. 

Triangle.  Steel  instrument  bent 
into  a  three-sided  form  usually  held 
by  a  string  in  the  left  hand  and 
struck  with  a  small  bar  of  iron  or 
steel;  employed  with  effect  occasion- 
ally in  an  orchestra. 

Trias  deficiens.  L.  Imperfect  triad. 

Trias  Harmonica.  Perfect  or  ma- 
jor triad. 

Tribach.  Foot  composed  of  three 
short  syllables. 

Tribut  de  Zamora.  Charles  F. 
Gounod's  four-act  opera,  to  book  by 
d'Ennery  and  Brezil,  was  first  per- 
formed April  1,  1881,  at  the  Paris 
Opera,  with  Mme.  Krauss  and  Lasalle 
in  the  chief  r61es. 

Tricinium.  L.  Composition  in 
three  parts. 

Triebert  (Charles  Louis)  played, 
improved,  and  manufactured  oboes  and 
bassoons ;  taught  oboe  Paris  Conserva- 
toire, where  he  had  been  prize  oboe 
pupil  of  Vogt,  1829.  B.  Oct.  31, 
1810,  Paris;  d.  July  18,  1867.  Fred- 
eric made  bassoons  of  the  Boehm  type ; 
was  in  partnership  with  his  brother, 
CHARLES  LOUIS.  B.  1813,  Paris; 
d.  1878,  Paris.  Frederic  played  oboe. 
Son  of  FREDERIC. 

Trill.    Shake;  TRILLANDO. 


Trill.  Abbreviation  of  TRILL 
ANDO. 

Trillando.  It.  "Shaking."  Lon 
vocal  or  instnunental  shake.  In  ; 
book  published  by  Playford,  1683,  th 
trill  is  described  as  a  shake  on  on 
note  only,  probably  similar  to  thi 
VIBRATO,  while  the  GEUPPETO  wa 
the  shake  as  now  practised. 

Trille.    Fr.    TRILLANDO. 

Trillerkette.  Qer.  Succession  o: 
chain  of  shakes. 

Trillo  Caprluoi  It.  Goat  trill  o: 
rough  rattle  on  one  note. 

Trinity  College,  Dublin,  founde( 
a  professorship  of  music,  1764,  whet 
the  first  incumbent  was  Lord  Morning 
ton.  Then  the  department  remainec 
without  a  head  until  1847,  when  it  wai 
filled  by  Dr.  John  Smith,  who  wai 
succeeded  by  Dr.  Sir  Robert  Stew 
art.  There  was  a  fine  University 
choral  society  under  the  Stewart  ad 
ministration.  Degrees  are  mostlj 
honorary. 

Trinity  College,  London,  was  th( 
development  of  a  Church  Choral  So 
ciety  founded  in  1872  for  the  improve 
ment  of  church  music.  The  collegt 
had  njore  than  300  students,  conductec 
examinations,  and  possessed  an  emi 
nent  teaching  facidty  headed  by  Sii 
Julius  Benedict.  The  first  warder 
was  Rev.  H.  G.  Bonavia  Hunt. 

Trinklied.     Oer.    Drinking  song. 

Trio.  Composition  for  three  voice! 
or  instruments;  part  of  a  MINUET 
march,  etc. 

Triole,  Triolet.  Fr.  Triplet  o\ 
three  notes  played  in  the  time  of  twc 
of  the  same  value. 

Triomphal  or  Triomphant.  Fr 
Triumphal  or  triumphant. 

Trionfale  or  Trionfante.  It.  Tri 
umphal  or  triumphant. 

Tripedisono.    It.  A  CAPO  TASTO 

Tripeltakt.    Q-er.    Triple  time. 

Triphonlsch.  Qer.  Three  tones  i 
TRIPLET. 

Triple  Croche.  Fr.  Demisemi 
quaver  or  32d  note  in  NOTATION. 

Triple  Counterpoint.  COUNTER- 
POINT in  three  parts  so  arranged  thai 
each  part  will  serve  for  bass,  middle 
or  upper  part  as  desired. 

Triplet.      Group    of    three    notei 


TRIPLETIME  683     TRISTAN   UND    ISOLDE 

played  in  the  time  of  two  and  indicated  culty  that   Brangane  separates  them 

ri?'  •^''^'^  ?''"^  ^^^  figure  3.  from  a  passionate  embrace  as  the  ves- 

Tripletime.     Three  beats  or  three  sel  lands  and  King  Marke  approaches, 

times  three  beats  to  a  measure.  The  second  act  takes  place  in  Oom- 

Triplex,  Triplum.   L.   Name  origi-  wall,  where  Isolde  is  now  Queen.    Vic- 

Dally  applied  to  a  third  part  when  tims  of  an  irresistible  passion,  neither 

added  to  two  other  parts,  a  canto  flrmo  she  nor  Tristan  thinks  of  concealment, 

and   a  counterpoint.     The   additional  and    despite    the   warning    given    by 

part  was  generally  the  upper,  hence  Brangane,   who   tells   her   Melot   has 

the  word  treble  or  triplex  applied  to  been  spying  on  them,  she  takes  advan- 

the  canto  primo;   motet  or  other  com-  tage  of  King  Marke's  pretended  ab- 

position  in  three  parts.  sence   on   a   hunting   expedition,   the 

Trisagion.      Qk.     "Thrice   Holy,"  torch  is  extinguished  as  a  signal  to 

opening  words   of  the   SANCTUS  in  Tristan,  and  a  moment  later  the  lovers 

the  MASS.  are  together  in  the  garden,  where  a 

Tristan  und  Isolde.  Richard  Wag-  long  and  deliriously  erotic  dialogue 
ner's  three-act  opera  to  his  own  book  takes  place.  Kurwenal,  Tristan's  ser- 
was  first  performed  June  10,  1865,  at  vant,  rushes  in  to  repeat  the  warning 
Munich,  under  the  direction  of  Hans  which  Brangane  has  already  sounded 
Ton  Billow.  The  first  act  takes  place  for  their  unheeding  ears,  but  is  too 
on  board  the  ship  in  which  Tristan,  late.  King  Marke  and  his  attendants 
nephew  of  King  Marke  of  Cornwall,  surprise  the  lovers.  Tristan  and  Melot 
is  returning  home  with  Isolde,  daugh-  fight,  and  Tristan  is  mortally  wounded, 
ter  of  the  King  of  Ireland,  who  is  to  The  third  act  transpires  in  Tristan's 
be  King  Marke's  bride.  Tristan  and  castle  on  the  coast  of  Brittany,  whither 
Isolde  have  met  before.  Tristan  had  the  wounded  knight  has  been  removed 
slain  in  battle  Morold,  to  whom  Isolde  by  Kurwenal.  He  has'sent  a  vessel  to 
was  then  betrothed,  and  had  received  bring  Isolde  to  heal  his  master's  hurts, 
a  wound  of  which  Isolde  had  cured  but  when  the  shepherd's  pipe  signals 
him.  Isolde  has  fallen  in  love  with  that  this  vessel  is  approaching,  Tris- 
Tristan,  and  this  emotion  is  compli-  tan,  in  his  joy,  tears  off  his  bandages, 
cated  by  her  anger  against  the  man  Thus  weakened,  he  has  only  strength 
who  is  coolly  taking  her  to  be  the  to  call  Isolde  by  name  as  she  enters, 
bride  of  another,  instead  of  wooing  then  dies  in  her  arms.  A  second  ves- 
for  himself.  In  a  colloquy  with  sel  approaches,  bearing  King  Marke,  to 
her  <  maid,  Brangane,  Isolde  declaims  whom  Brangane  has  confessed  having 
against  Tristan,  then  sends  for  the  administged  the  love  potion.  Under- 
Cornish  knight  to  come  to  her.  He  standinf^e  helplessness  of  the  lovers, 
refuses,  not  only  from  a  sense  of  duty  King  Marke  has  forgiven,  and  now 
to  King  Marke,  but  because  he  loves  comes  to  unite  them.  But  Kurwenal, 
Isolde  and  is  afraid  to  trust  himself  who  cannot  conceive  so  friendly  a  pur- 
in  her  presence.  Isolde  determines  pose,  seeks  to  defend  the  castle  from 
Tristan  shall  die.  She  commands  attack,  and  is  soon  dying  at  his  mas- 
Brangane  to  prepare  a  drink  mingled  ter's  side.  When  King  Marke  enters, 
with  a  poison  which,  with  other  magic  Isolde  is  singing  the  Liebestod,  and  a. 
compounds,  she  has  inherited  from  her  moment  later  falls  dead  over  Tristan  s 
mother.  Again  she  summons  Tristan,  body.  King  Marke  invokes  a  blessing 
this  time  so  imperatively  he  dare  not  on  the  dead  while  the  orchestra  tells 
refuse  Telling  Sm  it  is  time  to  make  that  m  death  the  lovers  are  united, 
atonement  fof  Morold's  death,  she  The  original  cast  consisted  of  Tris- 
^a^X  Hm  the  CUD  and  when  he  has  tan,  L.  Schnorr  von  Carolsfeld,  ten.; 
drunk,  snaches^t^rom  him  and  Kurwenal,  Mitterwurzer,  bar.;  King 
^™,>,a  the  rest  herself.  But  Bran-  Marke,  Zoltmayer,  bass;  Melot,  ten.; 
^anP  has  substituted  a  love  potion  Steersman,  bar.;  Young  Sailor,  ten.; 
Cth^morrdeadlydi^g  Its  effect  Shepherd,  sop.;  Isolde,  Frau  Schnorr 
Siniianteneousfand  ufs  with  diffl-  von  Carolsfeld,  sop.;    BrangSne,  FrL 


TRITE 


684   TROMPETER  V.  SAKKIHaEN 


Deinet,  sop.  This  work,  which  Wag- 
ner styled  "  ein  Handlung  "  ( an  ac- 
tion), was  composed  that  Wagner 
might  get  in  touch  with  the  theatre 
in  those  years  when  the  greater  part 
of  his  energies  were  devoted  to  the 
Ring  of  the  Nihelnng. 

Trite.  Third  string  from  the  top, 
in  the  eight-stringed  lyre  used  in 
GREEK  MUSIC. 

Tritone,  Triton.  Fr.  Augmented 
fourth  containing  three  whole  tones, 
anciently  forbidden  in  harmony  or 
counterpoint  because  regarded  as  a 
false  relation. 

Tritonius  (Petrus)  composed  and 
played  organ  at  Augsburg,  1507. 

Tritono.    It.    TRITONE. 

Tritonus.    L.   TRITONE. 

Tritt.    Ger.    Treadle,  step. 

Tritto  (Giacomo)  composed  operas 
and  taught  counterpoint  in  Naples.  B. 
1735,  Altamura,  Naples;  d.  1824, 
Naples. 

Trittschuh.  Qer.  Foot  place  on 
the  bellows  of  old  organs. 

Trochee.  Metrical  foot  consisting 
of  one  short  and  one  long  syllable. 

Troll.  Participation  in  a  catch  or 
round,  the  voices  succeeding  each 
other  at  regelated  intervals  with  the 
same  melody. 

Tromb.  Abreviation  for  TRUM- 
PET and  TROMBONE. 

Tromba.  It.  TRUMPET  or  aJi 
organ  reed  stop  of  8-ft.  pitch. 

Tromba  Bassa.  It.  Bass  TRUM- 
PET. 

Tromba  Cromatica.  It.  Keyed 
trumpet  capable  of  intermediate  semi- 
tones. 

Tromba  Harina.  It.  Marine 
trumpet  or  TRUMPET  MARINE. 

Tromba  Sorda.  It.  Trumpet 
whose  sound  is  stifled  by  a  mute  in  the 
bell. 

Tromba  Spezzata.  It.  Obsolete 
name  for  the  bass  trumpet. 

Trombetta.    It.   Small  TRUMPET. 

Tromboncino  (Bartholomaeus) 
composed  more  than  107  sacred  and 
secular  works  and  many  Frottole; 
Verona,  15th  century. 

Trombone.  Brass  instrument  con- 
sisting of  a  tube  bent  twice,  ending  in 
a  bell,  and  so  arranged  that  there  is 


a  double  middle  section  in  which  the 
two  outer  parts  can  slide  upon  each 
other,  thus  enabling  the  player  to 
shorten  or  lengthen  the  enclosed  vi- 
brating column  of  air  at  wiU,  produc- 
ing all  tones  and  semitones  within  its 
compass.  Capable  of  such  gradations 
of  tone  as  can  be  otherwise  obtained 
only  from  viol  instruments  or  the 
human  voice,  the  trombone  is  among 
the  oldest  of  inusical  instruments  in 
the  world.  Its  invention  lias  been 
attributed  to  Osiris,  then  to  Tyrtaeus, 
7th  century  b.  c,  and  it  was  believed 
until  recently  that  an  exceedingly  fine 
specimen  had  been  revealed  in  the  ex- 
cavations of  Pompei,  in  the  18th  cen- 
tury. By  the  Germans  it  was  known 
as  the  Posaune,  and  Hans  Menschel  is 
said  to  have  produced  instruments 
equal  to  those  of  the  present  day  in 
1520.  In  England  it  was  first  known 
as  the  Sackbut,  but  the  French  and 
Italian  name  has  come  in  to  general 
use.  Trombones  have  been  made  in 
every  size  and  therefore  in  every  key. 
The  Alto,  Tenor,  and  Bass  are  pre- 
ferred however,  the  Trumpet  forming 
their  treble.  The  trombone  has  seven 
positions,  defined  by  elongations  of  the 
tube,  each  with  its  series  of  open  tube 
harmonics,  and  in  the  hands  of  a  good 
performer  produces  very  beautiful  and 
absolutely  true  tones. 

Tromlitz  (Johann  Oeorg)  played, 
taught,  and  made  flutes.  B.  1726, 
G«ra;    d.  1805,  Leipsic. 

Trommel.     Qer.     Military  DRUM. 

Trommelklopf el  or  Trommel- 
schlagel.'    Ger.    Drumstick. 

Trommelschlager.  Ger.  Drum- 
mer. 

Trompe.  Fr.  TRUMPET  or  hunt- 
ing horn. 

Trompe  de  Beam.  Fr.  JEW'S 
HARP. 

Trompete.     Ger.    TRUMPET. 

Trompetenzug.  Ger.  Trumpet  stop 
in  an  organ. 

Trompeter  von  Sakkingen.  Vic- 
tor E.  Nessler's  opgra  comique  in  three 
acts  and  a  prelude  to  book  by  Bunge, 
was  first  performed  May  4,  1884,  at  the 
Leipsic  Stadt  Theatre.  Werner  Kirch- 
off,  a  Heidelberg  student,  is  expelled 
with  a  number  of  friends  because  of 


TROMPETTE 


685 


TROVATOE.E 


their  mad  pranks,  and  they  join  a 
body  of  troopers  of  whom  Werner  be- 
comes trumpeter,  and  are  sent  to 
Sakkingen.  Peasants  on  the  eve  of  re- 
volt against  their  master,  Baron  von 
Schoenau,  insult  Margaretha,  the  Bar- 
on's daughter,  but  she  is  saved  by 
Werner,  and  gives  him  a  rose.  Her 
cousin,  Countess  Wildenstein,  is 
struck  by  Werner's  resemblance  to  her 
son,  who  had  been  stolen  by  the  gyp- 
sies many  years  before.  The  Countess 
has  been  divorced  from  her  husband, 
who,  losing  his  second  wife,  desires  to 
effect  a  reconciliation  with  her,  and 
proposes  Damian,  his  son  by  this 
second  marriage,  as  the  husband  of 
Margaretha.  Werner  is  made  trum- 
peter to  the  Baron,  but  the  Countess 
discovers  him  making  love  to  Marga- 
retha, and  he  is  sent  back  to  his  troop. 
Then  the  castle  is  attacked  by  the 
peasantry,  Damian,  who  has  proved  a 
poor  lover,  shows  himself  a  coward, 
and  the  fslmily  are  rescued  by  Werner, 
at  the  head  of  his  comrades.  A  birth- 
mark on  his  arm  enables  the  Countess 
to  identify  him  as  her  long  lost  son, 
and  of  course  he  becomes  the  bride- 
groom of  Margaretha.  The  work  has 
become  widely  known  in  an  English 
version. 

Trompette.  Fr.  Trumpet,  tnmi- 
peter,  or  reed  stop  of  an  organ. 

Trompette  a  Clefs.  Fr.  Keyed 
TRUMPET. 

Trompette  a  Pistons.  Fr.  Valve 
TRUMPET. 

Troop.  March  in  quick  time  or  the 
second  beat  of  the  drum  as  a  marching 
signal. 

Troparion.  Office  book  of  the  Greek 
church  containing  the  sequences  or 
chants  sung  after  the  lessons. 

Troubadour.  A  minstrel'  poet.  In 
the  days  of  chivalry  King  Rene  of 
Provence  led  the  fashion  of  cultivating 
the  arts  of  poetry  and  music,  an  ex- 
ample followed  by  many  of  the  highest 
nobility,  and  the  troubadours  were  the 
minstrel  knights  of  Southern  Europe, 
who  found  their  counterpart  in  the 
Minnesingers  of  Germany.  The  gentle 
arts  fell  into  decay,  however,  and 
the  Troubadours  who  had  numbered 
princes  and  kings  among  their  number. 


fell  into  disrepute,  and  finally  ceased 
to  exist. 

Troutbeck  (Bev.  John)  translated 
many  libretti  into  English  from  Ger- 
man and  Italian,  published  by  No- 
vello;  was  precentor  at  Manchester 
and  minor  canon  of  Westminster.  B. 
Nov.  12,  1832,  Blencowe,  Cumberland; 
d.  1899,  London. 

Trouvwur,  Trouvere,  Trouverre, 
or  Kym.our.  A  composer  of  Romants, 
Contes,  Fabliaux,  Chansons,  and  Lais. 
Those  who  composed  Contes  and  Fab- 
liaux were  also  called  Contours,  Con- 
teurs,  or  Fabliers. 

Trovatore.  Giuseppe  Verdi's  four- 
act  opera,  to  book  by  Commarano, 
based  on  a  tragedy  by  Vega,  was  first 
performed  Jan.  19,  1853,  Rome.  The 
Paris  cast,  1857,  included:  II  Conte 
di  Luna,  bar.,  Manrieo;  Mario,  ten.; 
Perrando,  bass ;  An  Old  Zingaro,  bass ; 
Un  Messo,  ten.;  Leonora,  Mme.  Frez- 
zolini;  sop.;  Azucena,  Mme.  Borghi- 
Mamo,  mez.  sop. ;  Ines,  sop.  The  first 
act  opens  with  a  midnight  scene  in 
di  Luna's  palace,  at  which  Ferrando 
tells  how  the  Count's  younger  brother 
had  been  bewitched  by  a  gypsy,  and 
how  the  gypsy  had  been  burned  at  the 
stake,  after  which  the  gypsy's  daugh- 
ter and  the  Count's  little  brother  had 
both  disappeared.  Then  the  scene 
shifts  to  the  garden  in  which  Leonora 
is  confiding  to  her  friend  Ines  her  love 
for  a  handsome  Troubadour.  Di  Luna, 
who  loves  Leonora,  sings  a  serenade, 
and  Leonora  mistakes  him  for  the 
Troubadour  and  embraces  him.  A 
moment  later  the  Troubadour  appears, 
Leonora  explains,  and  the  Count  hav- 
ing challenged  him  to  mortal  combat, 
the  men  withdraw,  and  Leonora  falls 
fainting  with  terror.  The  second  act 
transpires  in  a  ruined  castle  in  which 
a  party  of  gypsies  are  gathered  about 
a  fire,  and  where  Azucena  relates  to 
Manrieo  the  Troubadour,  who  has  been 
wounded  in  the  duel,  practically  the 
same  tale  which  Perrando  had  already 
narrated  of  the  loss  of  the  Count's 
little  brother.  The  gypsy  burned  at 
the  stake  was  Azucena's  mother,  and 
she  confesses  that  she  had  herself 
seized  the  young  count,  and  had  meant 
to  throw  him  into  the  flames,  but  had 


TROVATORE 


686 


TRUMPET 


destroyed  her  own  child  instead. 
Manrieo  exolaima,  "  Then  I  am  not 
your  son !  "  but  the  gypsy  says  she  has 
been  raving,  denies  the  statement  she 
had  just  made,  and  denounces  Count 
di  Luna,  warning  Manrieo  not  to  spare 
his  life  a  second  time.  Then  a  mes- 
senger enters,  informing  Manrieo  that 
Leonora  has  entered  a  convent,  and 
summoning  him  to  battle  against  di 
Luna.  The  scene  shifts  to  the  con- 
vent. Di  Luna  desperately  in  love, 
has  planned  to  abduct  Leonora.  As 
he  is  about  to  drag  her  away  Manrieo 
appears  at  the  head  of  his  followers  and 
takes  her  to  the  castle  of  Castellar. 
The  third  act  opens  with  the  siege  of 
this  castle  by  Count  di  Luna.  Azu- 
cena  is  arrested  as  a  spy,  and  Fer- 
rando  recognizes  her  and  charges  her 
with  having  stolen  the  Count's  little 
brother.  Di  Luna  overjoyed  on  hear- 
ing Azucena  call  on  her  son  Manrieo 
to  save  her,  determines  to  punish  his 
rival  and  the  gypsy  at  the  same  time. 
Again  the  scene  shifts,  this  time  to 
the  castle.  Leonora  and  Manrieo  are 
about  to  be  married  when  Ruiz  rushes 
in  with  the  news  that  Azucena  is  to 
be  burned,  and  Manrieo  hurries  to  at- 
tempt her  rescue.  The  fourth  act 
opens  outside  the  tower,  in  which  Man- 
rieo, who  has  been  captured,  is  con- 
fined. Leonora  and  Ruiz 'enter  as  the 
bells  are  tolling  Manrico's  doom.  Leo- 
nora swears  to  save  him  at  any  cost, 
and  when  the  Count  enters,  after 
vainly  begging  her  lover's  life  she 
offers  herself  in  ransom  for  Manrieo, 
and  when  the  Count  agrees  to  the 
Troubadour's  release,  takes  poison, 
and  then  follows  the  Count.  The  next 
scene  reveals  the  interior  of  the  prison 
in  which  Azucena  and  Manrieo  are 
immured.  Azucena  has  a  vision  of 
her  mother's  death,  but  finally  falls 
asleep,  watched  over  by  Manrieo.  Leo- 
nora and  the  Count  enjter,  but  when 
Leonora  offers  her  lover  his  freedom 
he  curses  her,  and  only  realizes  the 
strength  of  her  love  and  fidelity  when 
she  falls  dead  at  his  feet.  Then  di 
Luna  orders  the  execution  of  Manrieo, 
and  awakening  Azucena  drags  her  to 
the  window,  from  which  she  may  see 
the  dead  body  of  her  supposed  son. 


But  the  gypsy  exclaims,  "  He  was  your 
brother!  Thus  thou  art  avenged,  0 
mother  mine!  "  The  curtain  falls. 
The  principal  numbers  are:  Act  I. 
"Abbietta  Zingara,"  Perrando;  "Ta- 
cea  la  notte  placida,"  Ines;  "  Deserto 
suUa  terra,"  Manrieo ;  "  Di  geloso 
amor  .  sprezzatd,"  Manrieo,  Leonora, 
and  di  Luna.  Aet  II.  "  Vedi  le  fosche," 
(Anvil  Chorus);  "Stride  la  vampa," 
Azucena;  "Mai  reggendo,"  Manrieo; 
"  II  balen  del  suo,"  di  Luna.  Act  III. 
"  Giorini  poveri,"  Manrieo;  "  Di  quella 
pirra,"  ^anrico.  Aet  IV.  "  D'Amor 
suir  all  rose,"  Leonora;  The  Mise- 
rere ;  "  Ah,  che  la  morte  ognora,"  Man- 
rieo; "  Mira  di  acerbe,"  Leonora;  "  Si 
la  stanohezza,"  Azucena  and  Manrieo. 

Troyens.  Hector  Berlioz's  "  lyric 
poem  "  to  his  own  book  was  originally 
composed  as  one  long  opera,  but  after- 
wards arranged  for  two  separate  per- 
formances, the  first  part,  three  acts, 
being  known  as  "La  prise  de  Troie," 
and  the  second,  five  acte,  as  "  Les 
Troyens  a  Catthage."  The  composer 
was  not  able  to  secure  a  hearing  for 
the  complete  work,  but  the  second 
opera,  performed  Nov.  4,  1863,  at  the 
Paris  Theatre  Lyrique,  proved  a  fail- 
ure. A  notable  and  the  first  complete 
performance  of  the  whole  work  took 
place  1897  at  Carsruhe. 

Troyers,  von  (Count  Ferdinand) 
commissioned  the  Octet,  Op.  166,  com- 
posed by  Schubert,  1824;  was  ama- 
teur clarinetist,  and  as  such  played  at 
a  concert  of  the  Gesellschaft  der 
Musikfreunde. 

Troyte  (Henry  Arthur  Dyke) 
composed  two  popular  chants  for  the 
Anglican  Church.  B.  May  3,  1811;  d. 
June  19,  1857. 

Trugsohluss  or  Trugcadenz.  Oer. 
Interrupted  or  deceptive  cadence. 

Truhn  (Priedrioh  Eieronymus) 
composed  the  opera  "  Trilby "  and 
popular  songs;  wrote  on  music.  B. 
Oct.  14,  1811,  Elbing;   d.  1886,  Berlin. 

Trumbschiet.  Qer.  Marine  trum- 
pet or  TRUMPET  MARINE. 

Trummel.     Ger.    TROMMEL. 

Trump.    Poetical  name  for  trumpet. 

Trumpet.  Brass  orchestral  instru- 
ment consisting  of  an  8-foot  smaU- 
bored    cylindrical    pipe,    doubled    on 


TRtTMPET    MAKINE  687  TSCHAIKOWSKT 

itself,  or  rather  curved  in  three  came  the  pupil  of  Anton  Rubinstein 
lengths  for  the  convenience  of  the  for  composition,  and  Zaremba,  har- 
pmyer,  and  terminating  in  a  bell,  mony  and  counterpoint,  and  four 
The  open  notes  of  the  trumpet  form  years  later  ,won  the  prize  for  compo- 
nearly  a  complete  scale,  but  by  means  sition  with  his  cantata  to  Schiller, 
of  crooks  and  slides  all  chromatic  "An  die  Freude "  (the  text  of  the 
intervals  are  obtainable.  The  instru-  Beethoven  Choral  Symphony).  For 
ment  is  of  prefiistorie  origin,  and  has  twelve  years,  from  1866,  he  was  pro- 
been  made  in  a  great  variety  of  shapes,  fessor  of  history  and  theory  at  the 
but  while  giving  a  clearer  and  more  Moscow  Conservatory,  founded  by 
resonant  tone,  has  been  largely  aban-  Nicholas  Rubinstein,  and  while  serv- 
doned  for  the  less  difficult  cornet,  ing  in  that  capacity  wrote  text-books 
except  in  the  largest  orchestras.  The  and  made  translations  of  others  into 
total  length  of  tube  of  the  orchestral  Russian.  From  1878  he  devoted  him- 
trumpet,  including  mouthpiece  and  self  exclusively  to  composition,  mak- 
flrst  crook,  is  72  inches,  which  gives  ing  his  home  in  St.  Petersburg,  but 


the  key  of  F.    Other  crooks  give  E,  E 
flat,  D,  and  ,C.     Crooks  giving  D  flat, 
B,   and  B   flat  are  more   rarely  em- 
ployed, 
trumpet  Marine,  or  Tromba  Ma 


visiting  Italy,  Switzerland,  appearing 
at  the  London  Philharmonic  concerts 
of  1888  and  1889,  and  conducting  his 
own  composition  in  New  York  at  the 
opening  of  .Carnegie  Hall.    In  1893  he 


Tina  is  a  nearly  obsolete  one-stringed  was   made   Dr.   Mus.   by   Cambridge, 

representative  of  the  viol  family,  for-  His  dramatic  works  include:    "Voie- 

merly    much    used   in    convents,    and  vode,"  Moscow,  1869,  "  Opritchnnyk," 

hence  called  in  German  "Nonngeige"  St.  Petersburg,   1874;    "Wakula  the 

(Nun's  fiddle).    It  is  played  with  the  Smith,"  St.  Petersburg,  1866;    "  Jev- 

bow,  only  tie  harmonic  tones,  which  genjie  Onegin"   ("Eugene  Onegin"), 


are  rich  and  abundant,  owing  to  the 
peculiar  position  of  the  bridge,  and  the 
heavy  quality  of  the  string,  being  used 


St.  Petersburg,  1879,  Hamburg,  1892; 
"Pique  Dame"  (posth.),  Vienna 
Opera,  1902;  "Maid  of  Orleans,"  1881; 


The  name  may  have  been  derived  from    "Mazeppa,"    1884;     incidental   music 
a  fancied  resemblance  to  the  speaking    to  the  play  "  Snegourotska,"  and  the 


trumpet  used  on  shipboard, 

Tschaikowsky     (Peter     Ilyitch) 
composed  a  famous   "  Symphony  Pa- 


ballets  "Lie  Lac  des  Cygnes"  ("Sch- 
wannensee"),  "La  Belle  au  Bois 
Dormant,"     1890,    and    "Le     Casse- 


Juliette"  (fantasy  overture),  "Ham- 
let," "Fatum,"  and  "Voievode" 
(symphonic  ballad),  while   his  occa- 


thetique,"   B    minor.   No.   6,   usually  Noisette,"    Op.    71.      His    symphonic 

accepted  as  the  greatest  work  in  this  poems,   most   of   which   were   in   the 

form   of   any   produced   by   the   New  repertoire    of    the    larger    orchestras 

Russian    School;      "1812,    ouverture  were  "  The  Tempest,"  "  Frdncesca  da 

solonelle"   for  orchestra,  notable  for  Rimini,"     '^Manfred,"     "Romeo^    et 

its   broad  and  massive  tonal  eflfects,    " '       -    "  "■ 

and   accompanied  in   performance   by 

the   discharge  of  cannon;    the  opera  .     .                     .     *    ,        o, 

"  EUGENE  ONEGIN  " ;    in  his  works  sional      works     include      Coronation 

of  every  class  was  ultra-Slavonic  in  march  for  orchestra.  Coronation  can- 

his  choice  of  material,  seeking  vigor-  tata  for  soli,  choir,  and  orchestra,  and 

ous     and     free    expression,     strongly  the  Triumphal  overture  on  the  Danish 

defined    rhythm,    and    bizarre    effects  national    hymn.      He    composed    six 

with   a   general   disregard   of   classic  symphonies,     four    orchestral    suites 

tradition;     was   among  the  most  in-  including  " Mozartiana,"  three  piano 

dustrious  and  useful  of  teachers.    At  concertos,  string  quartets  in  D,  F,  E 

first  a  law  student,  then  a  civil  service  flat    minor;     a    serenade    for    string 

employee,  it  was  not  until  he  was  22  orchestra,    a    serenade    melancholique 

that  Tschaikowsky  took  up  the  study  for    violin    and    orchestra.    Op.    48, 

of  music  seriously.     Then  he  entered  Marche  Slav  for  orchestra,  "L'Orage"; 

the  St    Petersburg  Conservatory,  be-  a  4-part  vesper  service,  a  4-part  Rus-  , 


TSCHIRdH 


688 


TtTCZEK 


sian  litany;  many  Russian  songs,  Kin- 
derlieder,  a  violin  concerto,  the  string 
sextet  "  Souvenir  de  Florence,"  and 
much  piano  music  including  "  Sou- 
venir de  Hapsal,"  Op.  "2;  Valse 
Caprice,  Romance,  Valse  Scherzo, 
NoctuiTie  and  Humoresque,  sonata  in 
G,  24  little  pieces  known  collectively 
as  "  Albund'  enfants,"  and  50  Russian 
folksongs  arranged  for  4-hand  piano. 
B.  Dec.  25,  1840,  Wotinsk,  in  the 
Government  of  Wiatka,  Russia;  d. 
of  cholera,  Nov.  6,  1893,  St.  Peters- 
burg. 

Tschirch  (Hermann)  played  organ. 
B.  1808,  Lichtenau,  Silesia;  d.  1829, 
Schmiedeberg.  Karl  Adolf  wrote  on 
music.  B.  1815,  Lichtenau;  brother 
of  HERMANN;  d.  1875.  Guben. 
Friedrich  Wilhelm  composed  drama- 
tic works;  conducted.  B.  1818,  Lich- 
tenau; brother  of  HERMANN;  d. 
1892,  Gera.  Ernst  Iiebrecht  composed 
dramatic  works  and  taught.  B.  1819, 
Lichtenau;  brother  of  HERMANN; 
d.  1854,  Berlin.  Eeinrich  Julius 
composed,  and  became  royal  music 
director.  B.  1820,  Lichtenau;  brother 
of  HERMANN;  d.  1867,  Hirschberg, 
Silesia.  Budolf  composed  and  directed 
music.  B.  1825,  Lichtenau;  brother 
of  HERMANN;   d.  1872,  Berlin. 

Tschudi.  Original  form  of  the 
name  of  the  SHUDI  family. 

Tua  (Maria  Felicita  "  Teresina  ") 
played  violin  with  notable  success  in 
concerts  and  recitals  throughout  Eu- 
rope, and  in  1887  toured  America; 
pupil  of  Massart,  Paris  Conservatoire, 
where  she  won  first  prize  for  violin, 
1880.  B.  May  22,  1867,  Turin;  re- 
tired after  her  marriage  to  Count 
Franchi-Verney  della  Valetta,  1891. 

Tuba.  Brass  valve  instruments 
forming  the  bass  of  the  SAXHORNS 
or  Bombardons.  In  Germany  the 
Tuba  in  F  is  commonly  played,  but 
in  Great  Britain  instruments  in  E 
flat  and  B  flat  are  preferred. 

Tuba.  L.  Trumpet  or  powerful 
reed  stop  in  the  organ. 

Tuba  major  or  Ttiba  mirabilis. 
8-ft.  high  pressure  reed  ORGAN  stop. 

Tubbs  (Prank  Herbert)  wrote 
books  and  essays  on  the  voice;  was 
choirmaster  of  various  churches  and 


founded  a  vocal  institute  in  Ntw  York; 
pupil  of  Apthorp,  Davis,  and  Wheeler, 
Boston;  Garcia,  Behnke,  and  Shake- 
speare, London,  and  San  Giovanni  and 
Lamperti,  Italy.  B.  Nov.  16,  1853, 
Brighton,  Mass.;    add.  New  York. 

Tubbs  (James)  made  violin  bows 
in  London  as  successor  to  the  business 
established  by  his  grandfather  and 
continued  by  his  father. 

Tubular  Fneumatic  Action 
lightens  the  touch  of  modern  ORGANS. 

Tucher,  von  (Baron  Gottlieb) 
wrote  on  music.  B.  1798,  Numberg; 
d.  1877. 

Tucker  (Rev.  William)  composed 
the  anthem  "  O  give  thanks,"  and 
other  church  music;  sang  Eng.  Chapel 
Royal;  priest,  minor  canon  and  pre- 
centor, Westminster  Abbey,  1660. 

Tuckermann  (Dr.  Samuel  Fark- 
man)  composed  services,  the  festival 
anthem  "  I  was  glad,"  carols,  chants, 
part-songs,  short  anthems;  edited 
"  Cathedral  chants,"  1858,  largely 
used  by  Protestant  Episcopal  choirs 
in  the  United  States,  two  collections 
of  hymn  tunes  and  anthems  and 
"  Trinity  Collection  of  Church  Music," 
1864,  largely  composed  of  the  works 
of  Dr.  Edward  Hodges  and  his  own; 
played  organ  at  Trinity  Church,  New 
York,  in  succession  to  Hodges;  lec- 
tured on  Church  music;  collected  a 
notable  library;  was  member  of  the 
Roman  Academy  of  Sta.  Cecilia;  re- 
ceived his  doctor's  degree  from  Arch- 
bishop of  Canterbury  during  a  sojourn 
at  English  Cathedrals  for  purposes  of 
study;  pupil  of  Zeuner,  Boston,  and 
in  early  life  organist  of  St.  Paul's, 
that  city.  B.  Feb.  17,  1819,  Bostoil, 
Mass.;    d.  1890,  Newport. 

Tucket.  Flourish  on  the  trumpet, 
said  to  be  derived  from  the  Italian 
TOCCATO  or  the  Spanish  tocar,  as 
tocar  trompeta,  to  sound  a  trumpet. 

Tuczek  (Vlnoenz  Franz)  composed 
the  fairy  opera  "  Damona  " ;  "  Moses 
in  Egypt,"  "  Samson  "  and  other  ora- 
torios; incidental  music  to  the 
tragedy  "Lanasse  ";  sang;  was  chapel- 
master  to  the  Duke  of  Courland,  and 
later  conducted  at  the  Leopoldstadt 
Theatre,  Vienna.  B.  about  l755, 
Prague;    d.  1820,  Pest. 


TUCZEK 


689 


TITBLE 


Tuczek.  Family  name  of  a  number 
of  artists  better  known  as  DUSSBK. 

Tudway  (Dr.  Thomas)  became 
professor  of  music,  Cambridge  Univer- 
sity, 1705,  in  succession  to  Dr.  Stag- 
gins;  composed  the  anthem  "Thou 
O  Grod,  hast  heard  our  desire  "  for  his 
doctor's  degree;  made  a  valuable  col- 
lection of  cathedral  services,  and  was 
made  composer  to  Queen  Anne,  but 
lost  his  post  owing  to  some  bad  puns 
which  were  construed  to  libel  the  au- 
thorities, and  spent  the  latter  part  of 
his  life  in  the  service  of  various  nobles ; 
chorister  in  boyhood,  Eng.  Chapel 
Royal,  then  ten.  at  St.  George's,  Wind- 
sor, and  organist  at  King's  College. 
B.  about  1650. 

Tulou  (Jean  Louis)  was  the  world's 
greatest  flautist,  preferring  to  play  a 
five-key  wooden  instrument  which  he 
manufactured  himself  in  opposition 
to  the  Boehm  instruments;  taught 
flute  from  1829,  Paris  Conservatoire, 
where  he  had  been  prize  pupil  of 
Wunderlich ;  succeeded  Wunderlich  as 
solo  flute  at  the  Opfira,  but  nearly 
ruined  his  career,  by  bon  mots  at  the 
expense  of  the  ministry;  composed 
grand  solos  with  orchestra  and  other 
flute  music  still  valued.  B.  Sept.  12, 
1786,  Paris;  d.  July  23,  1865, 
Nantes. 

Tuiaa  (Franz)  composed  masses  in 
D  minor,  E  minor,  and  other  church 
music  in  the  style  of  Bach;  played 
viol  da  gamba;  sang  ten.;  became 
chapehnaster  to  Empress  Elizabeth; 
pupil  of  Czernohorsl^  and  Pux.  B. 
1704,  Bohemia;    d.  1774,  Vienna. 

Tunder  (Franz)  played  organ  at 
the  Liibeck  Marienkirche,  where  he 
preceded  Buxtehude.  B.  1614;  d. 
1667,  Lubeek. 

Tune.  Melody  or  air;  JUST  IN- 
TONATION. 

Tuning.  Adjustment  of  an  instru- 
ment to  a  recognized  pitch.  Most  in- 
struments in  the  orchestra  are  tuned 
from  A,  sounded  by  the  oboe,  llie 
simplest  tunings  are  those  of  the  vio- 
lin, viola,  and  'cello,  —  fifths.  Key- 
board instruments  in  general  require 
the  services  of  an  expert,  who  should 
be  provided  with  chromatic  tuning 
forks    to   enable    him   to    "tune   the 


groundwork,"  unless  he  be  gifted  with 
extraordinarily  fine  sense  of  pitch. 

Tuning  Fork.  Two-pronged  in- 
strument of  steel  invented  by  John 
Shore,  sergeant  trumpeter  to  George  I 
of  England,  which  set  in  vibration 
makes  a  musical  sound  varying  in 
pitch  according  to  the  thickness  of  the 
steel  or  the  length  or  width  apart  of 
the  prongs.  The  ordinary  fork  gives 
out  a  single  note  only,  but  one  used 
in  Germany  has  a  slider  on  each  prong 
which  moved  up  and  down  alters  the 
pitch. 

Tuono.  It.  Body  of  tone  or  sound; 
a  tune. 

Tuono  Ecclesiastico.  It.  Church 
MODE  or  ACCENT. 

Turbae.  L.  Voice  of  the  multi- 
tude or  chorus  part  in  Passion  Music. 

Turca.  If.  Turkish;  as  alia,  in 
the  Turkish  style. 

Turco  in  Italia.  G.  A.  B6ssini's 
opera,  was  first  performed  Aug.  14, 
1814,  at  La  Scala,  Milan. 

Turini  (Francesco)  composed 
church  music;  played  organ  Brescia 
Cathedral ;  pupil  of  his  father,  GREG- 
ORIO.  B.  1590,  Prague;  d.  1656, 
Brescia.  Gregorio  composed  4-part 
Lieder  iji  imitation  of  the  vilanelle; 
was  cornetist  to  Emperor  Rudolph  II. 
B.  Prague  about  1560;   d.  about  1600. 

Tiirk  (Paniel  Theophil)  composed 
two  symphonies,  a  cantata ;  wrote  use- 
ful text-books  for  organ  and  clavier; 
pupil  and  friend  of  Hiller;  cantor  of 
St.  Ulrich's;  music  director  and  pro- 
fessor Halle  University.  B.  Aug.  10, 
1756,  Claussnitz;  d.  Aug.  26,  1813, 
Halle. 

Turkish  Music  or  JANITSCHA- 
RENMUSIK.  Noisy  music  made 
solely  by  instruments  of  percussion, 
such  as  cymbals,  gongs,  triangles,  and 
drums. 

Turle  (Tames)  composed  and  edited 
church  music  and  glees;  taught  with 
great  success;  played  organ  and  was 
master  of  choristers,  Westminster  Ab- 
bey, in  succession  to  Greatorex,  1831; 
chorister  in  boyhood.  Wells  Cathe- 
dral. B.  Mar.  5,  1802,  Taunton,  Eng.; 
d.  June  28,  1882.  Robert  played 
organ  Armagh  Cathedral;  chorister 
Wells    Cathedral    with    his    brother 


44 


TtJRLEY 


690 


tTBERTI 


JAMES.  B.  Mar.  1,  1804;  d.  Mar. 
26,  1877.  ■William  Taunton  played 
organ  English  churches ;  visited  Amer- 
ica, 1811;  chorister  Wells  Cathedral; 
cousin  of  JAMES.  B.  1795,  Taunton; 
d.  Taunton. 

Turley  (Johann  Tobias)  built 
organs.  B.  1773,  Brandenburg;  d.  1829. 

Turn.  Ornament  or  grace  note  in 
NOTATION. 

Turner  (Alfred  Dudley)  composed ; 
played  and  taught  piano.  B.  1854,  St. 
Albans,  Me. ;   d.  1888. 

Turner  (Austin)  composed  and  con- 
ducted. B.  1823,  Bristol;  settled  in 
Australia,  1854. 

Turner  (Dr.  William)  composed 
church  music;  sang  counter  ten.  Bng. 
Chapel  Eoyal,  where  he  had  been 
chorister;  vicar  choral  St.  Paul's  and 
lay  vicar  Westminster  Abbey..  B. 
1651,  Oxford;  d.  Jan.  13, 1740,  London. 

Turnhout,  de  (Gheert  Jacques 
"  Gerard  ")  composed  church  music; 
was  chapelmaster  Antwerp  Cathedral, 
later  to  the  court  of  Spain.  B.  about 
1520,  Turnhout,  Belgium;  d.  1580, 
Madrid.  Jean  succeeded  his  father 
"  GEEAED  "  as  court  chapelmaster 
at  Madrid. 

Turpin  (Edmund  Hart)  composed 
the  cantatas  "  Song  of  Faith,"  "  Jeru- 
salem," oratorios,  masses,  overtures, 
the  symphony  "The  Monastery";  con- 
ducted; played  organ  St.  Bride's  from 
1888;  wrote  for  and  edited  musical 
publications;  lectured;  pupil  of  Hul- 
lah  and  Pauer.  B.  May  4,  1835, 
Nottingham. 

Turr.  Burmese  violin  with  three 
strings. 

Turtshaninoff  (Feter  Ivanovitch) 
composed;  played  organ;  taught.  B. 
1779,  St.  Petersburg;    d.  1856. 

Tutta.  It.  "All,"  the  whole,  as 
forza,  the  full  power  of  force;  arco, 
the  whole  length  of  the  bow. 

Tutte  corde.  /*.  Direction  to  play 
on  all  the  strings  instead  of  one,  una, 
corde. 

Tutti.  It.  "All."  Directs  that 
every  performer  participate  in  the  ex- 
ecution of  the  passage. 

Tuyaux  a  Ancbe.    Fr.  Reed  pipes. 

Tuyaux  a  Bouche.  Fr.  Open  pipes. 

Tuyay  d'Orgue,    Fr.    Organ  pipe. 


Twelfth.  Interval  of  twelve  dia- 
tonic degrees  repeating  the  fifth;  organ 
stop  'tuned  twelve  notes  above  the 
diapasons. 

Tye  (Dr.  Cbristopher)  composed 
much  church  music,  including  a  setting 
of  the  first  14  Chapters  of  the  Acts  of 
the  Apostles  to  his  own  metrical  Eng- 
lish version;  chorister  and  gentleman, 
Bng.  Chapel  Royal;  played  organ  Ely 
Cathedral.  B.  Westminster;  d.  1572, 
Westminster. 

Tylman  (Susato)  published  music 
in  Amsterdam  from  1543;  was  town 
musicianprior  to  that  date;  composed 
part-songs;  known  also  as  Thieleman, 
Tilman,  and  Tielman. 

Tympani.    DRUMS. 

Tympanion.    Fr.    DULCIMER. 

Tyndall  (John)  wrote  "Sound," 
1867,  dealing  with  acoustics  and  mu- 
sic; famous  as  a  scientist.  B.  1820, 
Leighlin  Bridge,  Ireland;  d.  1893, 
Haslemere,  Eng. 

Tyro.  Beginner  in  music  or  other 
sciences. 

Tyrolienne.  Folksong  of  the  Tyrol ; 
song  accompanied  with  dancing;  the 
earliest  specimen  in  opera  is  Rossini's 
"  Toi  que  I'oiseau,"  in  third  act  of 
Guillaimie  Tell;  songs  in  which  the 
JODL  is  freely  used. 
_  Tzetze.  Abyssinian  instrument 
similar  to  the  guitar,  formed  of  a  long 
carved  neck  attached  to  a  gourd.  It 
has  frets  and  one  string,  usually  made 
of  the  tough  fibre  of  a  palm  tree. 


XTbaldus.    HUCBALD. 

Tiber  (Christian  Benjamin)  com- 
posed dramatic  works.  B.  1746,  Bres- 
lau;  d.  1812.  Eriedrich  Christian 
Hermann  composed  and  conducted 
opera;  son  and  pupil  of  CHRISTIAN 
BENJAMIN.  B.  1781,  Breslau;  d. 
1822,  Dresden.  Alexander  composed; 
played  'cello;  conducted;  pupil  of  his 
father  CHRISTIAN  BENJAMIN.  B. 
1783,  Carolath,  Silesia;  d.  1824. 

TTberti  (Giulio)  taught  Malibran, 
Grisi,  and  many  others  the  art  of 
declamation;  wrote  poetry  and  aided 
in  the  early  struggles  for  the  independ- 
ence of  Italy.  B.  1805,  Milan;  com- 
mitted suicide,  1876. 


TT.   C. 


691 


TTNCA 


'D'.  C.  Abbreviation  of  UNA 
COBDA. 

TJcellini  (Don  Marco)  composed, 
and  was  conductor  in  Florence,  1673. 

tJebelklang  or  ■Ubellaut.  Ger. 
Discord,  harsh  music. 

XTebereinstimmung.  Qer.  Con- 
sonance, harmony. 

Uebergang.  Qer.  Passage,  transi- 
tion. 

Uebermassig.     Ger.    Augmented. 

Uebung.    Ger.    Exercise. 

TJgab,  Huggab,  Agub.  Beb.  First 
wind  instrument  mentioned  in  the 
Bible,  given  as  organ  in  the  author- 
ized edition.  Gen.  iv.,  21.  Sometimes 
translated  in  the  Septuagint  by  cith- 
ara,  psalm,  and  organ.  In  its  earliest 
form  it  was  probably  PAN-PIPES  or 
a  syrinx,  but  grew  into  a  more  impor- 
tant instrument.  Possibly  it  was  used 
in  Psalm  CI,  in  a  poetical  sense,  a^ 
meaning  all  wind  instruments,  just  as 
minnim  is  of  all  string  instruments: 
"  Praise  him  upon  the  strings,  (min- 
nim) and  pipe,  (ugab)." 

TJg^lde  (Belphine  Beauce)  sang 
sop.  in  opera,  debut,  1848,  as  "Angela  " 
in  "  Le  Domino  Noir,"  Paris  Op6ra 
Comique;  taught  vocal;  managed 
Bouflfes  Parisiens  for  a  time  with  her 
second  husband,  Varcollier.  B.  Dec. 
3,  1S29,  Paris;  d.  Paris. 

irgbaldus.     HUCBALD. 

TIgolini  (Vincenzo)  composed 
church  music;  taught,  and  was  him- 
self pupil  of  Nanini;  Maestro  at  St. 
Peter's,  Rome,  1620-26.  B.  about 
1570,  Perugia;    d.  1638,  Rome. 

TTgoIino  (Fra  Biagio)  wrote  a  work 
on  music  published  1744;  Venetian 
monk. 

TTguale.  It.  Equal,  similar,  as 
Canone  a  tre  voci,  canon  for  three 
equal  voices. 

Ugualmente.  It.  Equally,  simi- 
larly. 

TThl  (Edmund)  composed  a  romance 
for  violin  with  orchestra,  songs;  wrote 
criticism;  played  organ  at  the  Syna- 
gogue and  taught  Freudenberg  Con- 
servatory, Wiesbaden ;  pupil  the  Leip- 
sic  Conservatory,  where  he  won  the 
Helbig  piano  prize,  1878.  B.  Get.  25, 
1853,  Prague;    add.  Wiesbaden. 

tJhlig  (Theodore)  wrote  on  theory; 


composed;  played  violin.  B.  1822, 
Wurzen,  Saxony;    d.  1853,  Dresden. 

TTlibishefE  or  tTlibichew.  OULI- 
BICHEF. 

Ulrich.  (Hugo)  composed  sympho- 
nies, one  in  B  minor,  1852,  which  was 
played  throughout  Germany,  and  the 
Symphonie  Triomphale,  which  won  a 
$250  _  prize,  Brussels  Academy,  1853, 
one  in  G,  the  opera  "  Bertrand  de 
Borm,"  two  overtures,  a  string  quar- 
tet, sonata  for  'cello,  piano  music; 
pupil  of  the  Breslau  Convict  and  later 
of  Dehn.  B.  Oppeln,  Silesia,  Nov.  26, 
1827;    d.  Mar.  23,  1872. 

Umana,  TTmano.  It.  "Human," 
as  voce,  the  human  voice. 

TTmbreit(Karl  Gottlieb)  composed, 
and  played  organ,  touring  as  virtu- 
oso.   B.  1763,  near  Gotha;    d.  1829. 

Umfang.  Oer.  Compass,  scope, 
as  der  stimme,  the  compass  of  the 
voice. 

TJmkelirung.     Qer.     INVERSION. 

TJmlauf  (Ignaz)  composed  "Berg- 
knappen,"  the  first  singspiel  produced 
at  the  Vienna  Burgtheatre,  1778, 
"  Das  Irrlicht,"  and  many  other  once 
popular  comic  operas;  deputy  chapel- 
master  to  Salieri  at  the  Vienna  court 
theatre.  B.  1756,  Vienna;  d.  June  8, 
1796,  Vienna.  IVCicliael  conducted  the 
concerts  at  which  Beethoven  could 
only  assist  after  he  had  become  deaf; 
composed  the  comic  opera  "  Der  Gren- 
adier," Kamthnerthor  Theatre,  Vi- 
enna, 1812;  sonatas  and  other  piano 
works;  pupil  of  his  father  IGNAZ. 
B.  1781,  Vienna;  d.  June  20,  1842, 
Baden,  near  Vienna. 

Umlauf  t  (Paul)  composed  a  "  Mit- 
telhochdeutsches  Liederspiel,"  the  dra- 
matic poem  with  orchestra,  "  Agan- 
decca,"  1892;  the  one-act  opera 
"  Evanthia,"  Duke  of  Coburg-Gotha 
prize,  1893;  Mozart  Scholar  at  Leip- 
sic  Conservatory.  B.  Got.  27,  1853, 
Meissen;    add.  Berlin. 

XTn,  Una,  TTno.  It.  "One,"  as 
corda,  one  string;   volta,  once. 

TTn  Anno  ed  un  Giorno.  Sir  Ju- 
lius Benedict's  one-act  opera  was  first 
performed,  1836,  at  the  Naples  Teatro 
Fondo. 

Tinea.  L.  Quaver.  Quarter  note 
in  musical  NOTATION. 


TTNCOUPLED 


693 


UPTON 


Uncoupled.  Direction  in  ORGAN 
music  that  the  manual  or  pedal  is  to 
be  detached  from  the  row  to  which  it 
was  coupled. 

Unda  Maris.  "  Wave  of  the  sea.'' 
"VOX  ANGELICA,"  organ  stop,  so 
called  because  of  its  wavy  imdulating 
tone. 

Undecima.     L.    Eleventh. 

Undecimole.  Group  of  eleven  notes 
to  be  played  in  the  time  of  eight  of  the 
same  kind. 

Undersong.  Chorus  or  burden  of 
a  song. 

Undertones.  Term  in  ACOUSTICS 
for  the  low  harmonics. 

Undulazione.  /*.  Tremulous 
sound  produced  upon  the  violin  by  the 
vibratory  pressure  of  the  finger  upon 
the  strings. 

Unequal  Temperament.  TEM- 
PERAMENT in  which  certain  keys 
are  made  nearly  true  to  the  greater 
imperfection  of  more  distant  keys. 

Unequal  Voices.  Voices  of  mixed 
qualities  such  as  those  of  men  and 
women  in  chorus. 

Unessentials.  Passing,  auxiliary 
or  ornamental  notes  not  absolutely 
necessary  to  the  harmony. 

Unger  (Caroline)  sang  sop.  in 
opera,  debut  at  Vienna  in  "  Cosi  fan 
tutti,"  1821,  appearing  at  the  first 
performance  of  Beethoven's  Ninth 
Symphony  and  Mass  in  D,  afterwards 
in  Italy  under  Barbaja,  with  great 
success,  being  known  as  "  Ungher  " ; 
pupil  of  Aloysia  Lange  and  Vogl.  B. 
Oct.  28,  1805,  near  Pest;  d.  Mar.  23, 
1877,  at  her  .villa  near  Florence. 

Ungerader  Takt.  Oer.  Triple 
time. 

Unharmonischer  Querstand.  Qer. 
Separation  of  a  chromatic  semitone 
between  two  parts. 

Unison.  Homophonous,  or  having 
the  same  number  of  vibrations ;  music 
in  octaves  for  mixed  voices  or  instru- 
ments. 

Unisoni.  It.  Unisons;  two  or 
more  parts  playing  or  singing  in 
unison  or  at  the  octave  according 
to  the  character  of  the  instrument  or 
voice. 

Unisono.  It.  In  unison  or  in 
octaves. 


Unisonous.  In  unison  or  in  oc- 
taves. 

Unisonus.  L.  In  unison  or  in 
octaves. 

Unitamente.  It.  Unitedly,  to- 
gether. 

Uno  a  Uno.  It.  "One  by  one," 
severally. 

Un  peu  plus  lent.  Pr.  "  A  little 
slower." 

Un  Pochettino  or  Un  PocUno. 
Jt.  Little,  very  little,  as  pift  mosso, 
a  very  little  more  lively. 

Un  poco.  It.  A  little,  as  allegro, 
rather  quick ;  piu,  a  little  more,  rite- 
nuto,  slightly  retarded. 

Unterbass.     ffer.    DOUBLEBASS. 

Unterdominant.  Ger.  SUB- 
DOMINANT,  as  Akkord,  chord  of  the 
subdominant. 

Unterhalbten.  Ger.  LEADING 
NOTE. 

Unterleitton.  Ger.  Dominant 
seventh. 

Untersatz.     Ger.    Sub-bass. 

Unterstimme.      Ger.     Under-part. 

Upbeat.  Unaccented  beat;  one 
where  the  conductor's  hand  is  raised. 

Up  Bow.  Up  stroke  of  the  bow, 
usually  producing  a  less  powerful  tone 
than  down  BOWING. 

Upbam  (J.  Baxter,  HL.  D.)  was 
president  of  the  Boston  Music  Hall 
Association,  1855-84;  president  of  the 
Handel  and  Haydn  Society,  1860-70; 
chairman  of  the  committee  on  music 
of  the  Boston  public  schools,  1857-72, 
and  instrumental  in  the  erection  of 
the  great  Walcker  organ  in  Music 
Hall. 

Uppatura.  Med.  L.  Song  of  a 
profane  character,  forbidden  to  be 
sung  in  church. 

Upton  (George  Putnam)  wrote 
the  life  of  Theodore  Thomas,  with 
whom  he  was  long  intimately  associ- 
ated; "Standard  Symphonies," 
"  Standard  Operas,"  "  Standard  Ora- 
torios," all  excellent  works  of  their 
class ;  "  Musical  Memories,"  1908 ; 
founded  and  was  first  president 
of  the  Chicago  Apollo  Club,  1872; 
wrote  music  criticism  for  the  Chicago 
"  Tribune  "  from  1861,  and  later  con- 
tributed editorials  to  that  newspaper; 
aided  materially  in   the  foundation  of 


TTRBAN 


693 


the  Chicago  Symphoay  orchestra;  was 
graduated  from  Brown  University, 
1854,  and  shortly  afterwards  settled 
in  Chicago.  B.  Oct.  25,  1835,  Boston, 
Mass.;     add.   Chicago. 

Urban.     VALENTINI. 

tlrban  (Christian) wrote  on  music; 
conducted;  composed.  B.  1778,  El- 
bing. 

tJrban  (Heinrich)  composed  the 
symphony  "  Fruhling,"  the  overtures 
"  Fiesco,"  "  Scheherazade,"  "  Zu  einem 
Festnachtspiel";  taught  theory  and 
violin  Kullah  Academy  from  1881; 
pupil  of  Ries,  Laub,  Helman.  B.  Aug. 
27,  1837,  Berlin;  d.  Nov.  24,  1901, 
Berlin.  Friedrich  Julius  wrote  vocal 
methods;  composed  songs;  taught 
vocal,  Berlin;  pupil  of  Ries,  Helman, 
Grell,  Eisner  and  Mantius,  and  in 
boyhood,  solo  sop.  at  the  Domchor; 
brother  of  HEINRICH.  B.  Dec.  23, 
1838,  Berlin;   add.  Berlin. 

TIrfey,  d'  (Thomas)  D'URFEY. 

TJrhan  (Cretien)  composed  two 
string  quartets,  a  romance  on  two 
notes,  much  chamber  music;  played 
all  bow  instruments;  was  noted  as 
violinist  and  played  viol  d'amour  so 
well  that  Meyerbeer  composed  a  pas- 
sage for  that  instrument  in  the 
"  Huguenots  " ;  played  violin  at  the 
Paris  Opera  30  years,  from  1816,  with- 
out ever  looking  at  the  stage.  B.  Feb. 
16,  1790,  near  Aix-la-Chapelle;  d. 
Nov.  2,  1845,  Bellville,  near  Paris. 

Urh-Heen.     Chinese  violin. 

Urich  (I.)  composed  the  operas 
"Der  liootse,"  "Hermann  und  Boro- 
thea,"  "Le  Carillon,"  Berlin, '1902; 
pupil  of  Gounod.    B.  Alsace. 

TJrio  (Francesco  Antonio)  com- 
posed a,  famous  Te  Deum  for  voices 
and  orchestra  from  which  Handel 
borrowed  10  numbers  for  his  "  Dettin- 
gen  Te  Deum,"  six  for  "  Saul,"  one, 
for  "Israel  in  Egypt,"  and  one  for 
his  "L' Allegro."  Besides  this  work, 
Urio,  who  was  a  Minorite  monk,  and 
ehapelmaster  of  churches  in  Milan  and 
Venice,  composed  motets  for  two, 
three,  and  four  voices,  with  or  without 
violin,  "  salmi  concertanti  "  for  three 
voices  with  violin,  the  oratorios  "  San- 
sone,"  1701,  and  "  Maddalena  Conver- 
tita,"   1706,   and  much   other  music. 


TTT   QTIEANT   LAXIS 


Dr.  Chrysander  edited  the  famous  Te 
Deum  which  was  published  in  1871. 

Urquehart  (Thomas)  made  violins 
in  London,  1675. 

Tlrso  (Camilla)  played  violin  with 
distinction  in  all  parts  of  the  world, 
debut  in  America  at  10,  then  becoming 
a  pupil  of  Massart,  Paris,  and  resum- 
ing her  concertising  after  several  years 
of  study;  pupil  at  first  of  her  father, 
who  played  flute  and  organ.  B.  1842, 
Nantes,  France;  m.  Frederic  Lucres; 
d.  Jan.  20,  1902,  New  York. 

Urspruch  (Anton)  composed  a 
symphony,  piano  sonata,  the  opera 
"  Der  Sturm,"  based  on  Shakespeare's 
"  Tempest  " ;  the  comic  opera  "  Das 
Unmoglichste  von  Allem  "  to  his  own 
book,  Carlsruhe,  1897;  taught,  Hoeh 
and  RaflF  conservatories;  pupil  of 
Lachner,  Wallenstein,  Raff  and  Liszt. 
B.  Feb.  17,  1850,  Frankfort  on  Main; 
add.  Berlin. 

TTt.  The  note  C;  the  first  of  the 
Guidonian  syllables. 

Ut  Bemol.     Fr.    C  flat. 

Tit  Diese.    Fr.    C  sharp. 

TJt  Diese  Itllneur.  Fr.  C  sharp 
minor. 

XTtenthal  (Alexander)  composed 
and  conducted;  name  also  spelled 
Uutendal.  B.  Flanders;  d.  May  8, 
1581,  Innspruck. 

TJt  Queant  Iiaxis  are  the  first 
words  of  the  Latin  hymn  for  the  feast 
of  St.  John  the  Baptist,  from  which 
Guido  d'Arezzo  chose  the  six  syllables 
used  in  solmisation  and  developed  the 
Harmonic  Hand.  Guido  in  Writing  to 
Brother  Michael,  1025,  explains  that 
he  has  used  these  syllables  to  advan- 
tage in  teaching  children,  applying 
them  to  the  Hexachordon  naturale  in 
such  a  way  that  each  syllable  repre- 
sented a  given  pitch,  Ut  being  movable, 
in  fact,  precisely  as  is  Do  in  the  mod- 
ern Tonic  Sol  Fa  systems.  To  give 
the  hymn  in  such  a  way  as  to  show 
the  origin  of  Guido's  mnemonic  idea,  It 
need  only  be  printed  with  the  first 
syllables  of  each  line  in  black  type: 
TJt  queant  laxis,  Resonare  fibris,  Klra 
gestorum,  Famuli  tuorum,  Solve  pol- 
luti,  Labii  reatum,  Sanete  lonnes. 
Guido  had  contented  himself  with 
combining  the  Greek  Tetrachords.  and 


TTTRICTILABIAB 


694 


VALVES 


it  was  not  thought  necessary  to  add 
a  seventh  syllable  Si  until  the  begin- 
ning of  the  17th  Century,  and  then  it 
was  formed  by  combining  the  initial 
letters  of  the  Baptist's  name. 

Utriculariae.     L.    BAGPIPE. 

Ut  Supra.  L.  As  above,  as  be- 
fore, as  Gloria  Fatri,  Gloria  as  before. 


V.  Abbreviation  of  verte,  violino, 
violiui,  voce,  voci,  volta,  volti,  etc. 

Va.    Abbreviation  of  VIOLA. 

Va.  It.  "  Go  on,"  as  Cresendo,  go 
on  increasing  the  power,  Ballentando, 
go  on  dragging  the  time. 

Vaccaj  (Niccolo)  composed  "  Giu- 
lietta  e  Romeo,"  Naples,  1825,  "Marco 
Viseonti,"  "Giovanna  Grey,"  "Vir- 
ginia," and  16  other  operas,  a  method, 
much  church  music;  was  director  and 
chief  teacher  of  composition,  Milan 
Conservatory,  1838-44;  pupil  of  Jan- 
naconi  and  Paisiello.  B.  Mar.  15, 1790, 
Tolentino;  d.  Aug.  5,  1848,  Pesaro. 

Vacillando.  /*.  Wavering  and 
uncertain  about  the  time  or  tone. 

Vaet  (Jacques)  composed  an  8-part 
Te*  Deum,  5-part  Miserere,  25  motets, 
and  much  other  church  and  occasional 
music  while  serving  the  court  at  Vi- 
enna, where  he  was  composer  from 
1520,  and  chapelmaster  from  1564. 
B.  Flanders;    d.  Jan.  8,  1567,  Vienna. 

Vago.  It.  With  a  vague,  indefi- 
nite expression. 

Vaisseau-Fantome. .  Pierre  Louis 
Philippe  Dietsch's  two-act  opera  to  the 
libretto  of  "Fliegende  Hollander," 
which  he  purchased  from  Richard 
Wagner,  was  first  performed  Nov.  9, 
1842,  at  the  Paris  Op6ra. 

Valce.     It.    WALTZ. 

Valentin!  (Giovanni)  played  organ 
and  composed;    Italy,  17th  century. 

Valentini  (Giuseppe)  played  violin 
and  composed.  B.  about  1690,  Flor- 
ence. 

Valentini  (Pietro  Francesco)  com- 
posed a  canon  on  a  line  "  Illos  tuos  " 
from  the  Salve  Regina  which  Kircher 
said  could  be  sung  more  than  3000 
different  ways;  and  the  canon  "Nel 
nodo  di  Salomo,"  also  capable  of  al- 
most infinite  treatment;  pupil  of 
Nanini.    D.  1654,  Rome. 


Valentini     (Valentino     TTrbani) 

composed  the  opera  "  II  Trionfo 
d'Amore,"  London,  1708,  which  was 
actually  sung  in  English  by  a  east 
including  himself.  The  Baroness, 
Margherita  de  I'Bpine,  Leveridge, 
and  Mrs.  Tofts ;  sang  con.  with  distin- 
guished success,  1707  to  1714.  B. 
Italy. 

Valentino  (Henri  Tustin  Armand 
Joseph)  conducted  at  the  Paris  Opfira 
from  1818;  was  honorary  royal 
chapelmaster;  became  chief  conductor, 
Opgra  Comique,  1831,  resigned  five 
years  later  and  founded  the  Concerts 
Valentino  at  which  he  produced  clas- 
sical programmes  at  popular  prices. 
B.  Oct.  14,  1787,  Lille;  d.  Jan.  28, 
1865,  Versailles. 

Valeriano  (Cavaliere  Fellegrini) 
sang  con.  rSles,  London  Opera,  1712- 
13;  prior  to  that  was  musico  at  the 
court  of  the  Elector  Palatine. 

Valeur.  Fr.  Value,  worth,  or 
length  of  a  note. 

Valleria  (Alwina  Lolimann)  sang 
sop.  with  success  in  oratorio  and  opera, 
debut  as  "Linda  di  Chamouni,"  St. 
Petersburg,  1871,  later  as  "Inez," 
"  Susanna,"  "  Michaela,"  etc.,  Covent 
Garden  and  Carl  Rosa  company; 
range  b  flat  to  d'" ;  pupil  of  the  Royal 
Academy  of  Music  and  of  Arditi.  B. 
Oct.  12,  1848,  Baltimore,  Md.;  m. 
R.  H.  P.  Hutchinson,  of  Husband's 
Bosworth,  Eng.,  Aug.  23,  1877,  and 
retired. 

Vallotti  (F.  Francesco  Antonio) 
wrote  "  Delia  Scienza  teorica  e  pratica 
della  inbderna  musica,"  Padua,  1779; 
composed  a  Requiem  for  Tartini;  was 
organist  and  chapelmaster  of  St.  An- 
tony's, Padua.  B.  June  11,  1679, 
Vercelli;    d.  Jan.  16,  1780,  Padua. 

Valore.  It.  Value,  worth,  and 
length  of  a  note. 

Valse.    Fr.    WALTZ. 

Valse  k  Deux  Temps.  Fr.  Waltz 
now  often  danced  in  which  two  steps 
are  made  to  each  measure  of  three 
beats. 

Valves  are  crooks  permanently  at- 
tached to  horns,  trumpets,  and  other 
wind  instruments  controlled  either  by 
piston  or  rotary  action,  by  which  the 
length  of  the  tube  may  be  increased 


VAMP 


695 


VAN   WESTERHOtJT 


80  as  to  complete  the  scale,  to  trans- 
pose the  key,  or  to  enable  the  player 
to  obtain  correct  intonation.  The  first 
valve  usually  lowers  the  tone  by  a 
whole  tone,  the  second  valve  by  a  semi- 
tone, the  third  valve  by  a  tone  and  a 
half,  and  when  there  is  a  fourth  valve, 
as  in  some  instruments  of  deep  pitch, 
by  two  tones  and  a  half. 

Vamp.  To  improvise  an  accompani- 
ment. 

Vampyr.  Heinrich  Marsehner's 
four-act  opera,  to  book  by  Haser,  was 
first  performed  Mar.  28,  1828,  at 
Leipsic. 

Van  Bree  (Johann  Bernard)  com- 
posed masses,  cantatas;  was  conductor 
the  Amsterdam  Felix  Meritis  Society 
and  other  concerts;  played  violin; 
pupil  of  his  father.  B.  1801,  Amster- 
dam;   d.  Feb.  14,  1857. 

Van  Cleve  (John  Smith.)  com- 
posed, lectured,  wrote  criticisms, 
taught,  and  played  piano,  though 
handicapped  by  blindness  from  early 
manhood;  atteched  to  the  College  of 
Music  and  the  Conservatory  of  Music 
in  Cincinnati,  and  was  resident  of 
Chicago  for  a  time;  pupil  of  Noth- 
na,gel,  W.  Steinbrecher,  Lang,  and 
Apthorp.  B.  Oct.  30,  1851,  Maysville, 
Ky.;  add.  Cincinnati,  O. 

Van  den  Eeden  (Gilles)  sang  and 
played  organ  at  the  court  of  the  Elec- 
tor of  Cologne,  where  he  was  Bee- 
thoven's first  teacher.  D.  1792.  Hein- 
rich was  musician  to  the  Elector  of 
Cologne  in  1695,  and  the  father  or 
uncle  of  GILLES. 

Vanderlinden  (C.)  composed  two 
operas,  overtures ;  conducted  National 
Guard  band  and  Dordrecht  Philhar- 
monic Society;  pupil  of  Bohme  and 
Kwast.     B.  4839,  Dordrecht. 

Vander  Straten  (Edmond)  wrote 
"  La  Musique  aux  Pays-Bas,"  7  vols., 
and  other  highly  valuable  historical 
and  archaeological  works;  was  associ- 
ated with  Fetis  14  years  as  secretary 
at  the  Brussels  Conservatory,  and 
served  the  Belgian  government  on 
scientific  missions;  composed  the 
opera  "Le  Proscrit,"  1849;  in  early 
life  law  student  at  Alost  and  Ghent 
University.  B.  Dec.  3,  1826,  Oude- 
naarden,  Flanders;   d.  1895,  Brussels. 


Van  der  Stucken  (Trank  Valen- 
tin) conducted  the  Cincinnati  May 
Festivals  in  succession  to  Theodore 
Thomas,  and  from  1895  until  dis- 
banded, the  Cincinnati  Symphony  Or- 
chestra; was  dean  of  the  Cincinnati 
College  of  Music;  composed  the  opera 
"  Vlasca,"  Paris,  1883 ;  the  symphonic 
prologue  "  William  Ratcliff,"  Cincin- 
nati, 1899,  "  Pagina  d'amore,"  for-soli, 
chorus,  and  orchestra,  a  Festival 
March,  "  Pax  Triumphans,"  Antwerp, 
1902,  songs.  Of  Belgo-German  ancestry, 
though  born  in  America,  he  was  taken 
to  Antwerp  at  eight,  studied  with 
Benoit,  later  with  Reinecke,  Sanger, 
and  Grieg,  and  with  Liszt  in  Weimar; 
was  conductor  Breslau  City  Theatre, 
1881-82;  and  of  the  New  York  Arion, 
1884-95.  B.  Oct.  15,  1858,  Fredericks- 
burg, Texas;   add.  Cincinnati,  O. 

Van  Buyse  (Florimond)  composed 
the  ode-symphonische  "  Die  Nacht,"  ' 
seven  operas  produced  at  Ghent  and 
Antwerp;  pupil  of  Ghent  Conserva- 
tory, where  he.  won  first  prize,  1873, 
with  his  cantata  "  Torquato  Tasso's 
Dood."  B.  Aug.  4,  1853,  Ghent;  add. 
Ghent. 

Van  Dyck  (Ernest  Marie  Hubert) 
sang  ten.  in  opera  with  especial  suc- 
cess in  Wagnerian  rSles,  debut  as 
"  Lohengrin,"  Paris,  1887,  at  Bajrreuth 
as  "Parsifal,"  1892,  and  from  1888  at 
the  Vienna  court  opera,  Covent  Gar- 
den, London,  and  Metropolitan  Opera 
House,  New  York.  In  early  life  law 
student  and  then  a  journalist  in  Paris, 
he  became  pupil  of  St.  Yves.  B.  April 
2,  1861,  Antwerp;    add.  Paris. 

Vanini-Boschi  (Erancesca)  sang 
con.  in  London  operas  under  Handel 
with  her  husband,  Giuseppe  Boschi, 
who  possessed  a  noble  bass  voice. 

Vanneo  (Stephano)  wrote  on  the- 
ory; became  monk.  B.  1493,  Recanati, 
Ancona. 

Van  Os  (Albert  "the  Great") 
was  the  first  organ  builder  of  record, 
having  erected  that  of  St.  Nicholas 
Church,  Utrecht,  1120;  priest  and 
theologian. 

Van  Booy.     EOOY. 

Van  Westerhout  (Niccolo)  com- 
posed dramatic  works.  B.  1862,  Mola 
di  Bari;    d.  1898,  Naples. 


VAMAMENTE 


696 


VAVRINECZ 


Variamente.  It.  In  a  varied 
manner. 

Variations.  The  repetition  of  a 
theme  or  musical  phrase  with  such 
variety  as  may  be  obtained  by  the 
introduction  of  new  figures  in  counter- 
point, the  use  of  grace  notes  and  other 
florid  treatment,  or  the  transposition 
of  the  theme  or  harmonies  to  another 
key.  •  Legitimate  use  of  variations  is 
as  effective  in  bringing  out  the  full 
beauty  of  a  passage  in  music  as  the 
repetition  of  an  idea  clothed  in  differ- 
ent language  which  is  the  basis  of 
Hebrew  poetiy.  Its  abuse  in  either 
music  or  poetry  is  intolerably  monot- 
onous. But  as  thorough  knowledge 
and  skill  in  the  construction  of  varia- 
tions is  essential  to  the  working  out 
of  FORM,  it  is  not  surprising  to  find 
that  Bach,  Haydn,  Mozart,  Beethoven, 
and  practically  all  the  great  composers 
of  more  recent  times,  have  delighted 
to  produce  such  works. 

Variato.  /*.  Varied,  changed,  al- 
tered, with  variations. 

Varie.     Fr.     VARIATO. 

Varney  (Pierre  Joseph  Alphonse) 
composed  operettas  and  conducted. 
B.  ISllj  Paris;  d.  1879.  Louis  com- 
posed comic  operas,  revues,  and  other 
light  musical  works  for  the  Paris 
stage,  numbering  more  than  30  from 
1876.  Son  and  pupil  of  P.  J.  A. ;  add. 
Paris. 

Vasseur  (Leon  Pelix  August 
Joseph)  composed  masses,  many  light 
dramatic  works;  played  organ,  Ver- 
sailles; conducted  Concerts  de  Paris 
and  at  the  Folies-Bergferes ;  pupil  the 
ficole  Niedermeyer.  B.  May  28,  1844, 
Pas  de  Calais;   add.  Paris. 

Vaucorbeil  (August  Emanuel) 
composed  the  comic  opera  "  La  Ba- 
taille  d' Amour,"  1863 ;  chamber  music, 
"  Simple  Chanson,"  and  other  songs ; 
became  Inspecteur  des  Beaux  Arts, 
1878;  and  then  managed  the  Paris 
Op6ra,  where  his  administration  was 
chiefly  distinguished  by  parsimony. 
B.  Dec.  15,  1821,  Rouen;  d.  Nov.  2, 
1884. 

Vaudeville.  Fr.  Originally  ap- 
plied to  a  country  song  similar  to 
those  written  by  Oliver  Basselin  of 
the  valleys  of  Vaux  de  Vire  in  Nor- 


mandy in  the  15th  century.  Of  a 
satirical  nature,  these  songs  had  for 
their  subjects  love,  drinking,  and  pass- 
ing events,  and  they  became  very  popu- 
lar, spreading  all  over  France  under 
the  name  of  Lais  des  Vaux  de  Vire. 
Their  eccentric  character  lived  after 
their  history  was  forgotten,  and  plays 
with  songs  of  this  description  inter- 
polated came  to  be  called  Vaudevilles 
and  sometimes  Virelais,  the  songs 
forming  an  integral  portion  of  the 
plot  or  subject.  In  the  United  States 
the  term  is  loosely  applied  to  what 
were  formerly  called  "  variety  shows," 
entertainments  similar  to  those  given 
in  English  "  Music  halls." 

Vaughn  (Thomas)  sang  ten.  Eng- 
lish concerts  and  oratorio;  pupil  of 
Beokwith  while  chorister  at  Norwich 
Cathedral,  later  sang  Eng.  Chapel 
Royal,  and  became  vicar  choral  of  St. 
Paul's,  and  lay  vicar  Westminster 
Abbey.  B.  1782,  Norwich;  d.  Jan.  9, 
1843,  Birmingham. 

Vauxhall  Gardens,  originally 
known  as  Spring  Garden,  London, 
contained  a  theatre  at  which  perform- 
ances of  light  operas  and  ballets  were 
given,  as  well  as  concerts,  and  a  ro- 
tunda which  was  used  for  concerts 
when  the  weather  was  bad.  The  name 
was  derived  from  that  of  Jane  Vaux, 
an  early  proprietor,  and  the  Gardens 
first  became  a  popular  resort  in  1661. 
Fireworks,  tight-rope  walking,  and 
other  familiar  circus  attractions,  in 
addition  to  the  concerts,  maintained 
the  popularity  of  ■  the  resort  until 
1859,  by  which  time  it  had  become 
thoroughly  disreputable,  and  was 
sold  off  in  building  lots.  Handel's 
music  in  celebration  of  the  peace 
of  Aix-la-Chapelle  was  performed 
there  as  a  "  public  rehearsal,"  April 
21,  1749,  before  an  audience  of  12,000 
people. 

Vavrinecz  (Mauritius)  composed 
the  One-act  opera  "  Rosamunda," 
Frankfort-am-Main,  1895,  the  four-act 
opera  "Ratcliff,"  Prague,  1895;  five 
masses,  an  oratorio,  a  symphony; 
was  chapelmaster  Pest  Cathedral; 
pupil  of  Volkmann  and  Pest  Conser- 
vatory. B.  July  18,  1858,  Czegled, 
Hungary;    add.  Pest. 


VECCHI 


697 


VENITE  EXTTLTEMtTS 


Vecchi  or  Veochii  (Orazio)  com- 
posed "  Amfiparnasso,"  which  con- 
sisted of  a  series  of  5-part  madrigals 
sung  to  action  in  pantomime  although 
the  players  sometimes  joined  with  the 
chorus,  Modena,  1595,  and  which  he 
called  "  commedia  harmonica,"  a  term 
which  may  he  rendered  "  musical  com- 
edy." Pupil  of  Padre  Salvatore  Es- 
senga,  Vecchi  himself  took  orders,  and 
was  archdeacon  of  Corregio,  and  from 
1596  chapelmaster  of  the  Modena 
Cathedral  and  to  the  Duke.  His  other 
works,  church  music,  and  madrigals 
are  in  the  Venetian  style.  B.  ahout 
1551,  Modena;   d.  Feb.  19,  1605. 

Veemente.    /*.  Forcible,  vehement. 

Veemen^a,  con.  It. "  With  force 
or  vehemence. 

Veiled  Prophet  of  Khorassan. 
Sir  C.  V.  Stanford's  three-act  opera,  to 
book  by  Squire  based  on  Moore's  poem, 
was  first  performed  Feb.  6,  1881,  at 
the  Hanover  court  theatre  as  "  Der 
verschleierte  Prophet." 

Velato,  Velata.  It.  Veiled,  as 
Voce,  voice,  the  tone  of  which  is  not 
clear. 

Vellutata,  Vellutato.  It.  In  a 
soft,  velvety  manner. 

Vellati  (Giovanni  Battista)  sang 
sop.  in  opera  with  great  distinc- 
tion, debut  at  20  at  Forli,  and  in  1807 
appearing  in  Niccolini's  "  Trajano  " 
with  such  success  that  he  was  at  once 
acclaimed  the  greatest  singer  of  his 
time,  and  repeating  this  triumph  at 
the  San  Carlo,  Naples,  the  Scala, 
Milan,  and  in  Vienna,  where  verses 
were  written  in  his  honour,  a  medal 
struck,  and  he  was  crowned;  was  the 
last  of  the  celebrated  Italian  castrati 
singers.  In  1825  he  received  $3000 
for  a  few  appearances  at  the  London 
Opera,  and  the  following  season  $14,- 
000,  although  his  voice  was  nearly 
gone.  He  was  likewise  an  able  con- 
ductor; pupil  of  Calpi.  B.  1781, 
Mbnterone,  Ancona;    d.  1861. 

Veloce.      It.    Rapid,  swift. 

Velocissimamente.     It.    Very 

Bwiftty. 
Velocissimente.     It.    Swiftly. 
Velocita,    con.      /*.     With   swift- 

"  V;ioc?ty  *^i  SouBd.     ACOUSTICS 


teaches  that  this  varies  with  the  tem- 
perature and  density  of  the  medium. 

Venice  was  the  seat  of  a  Royal 
Conservatory  of  Music  which  taught 
the  art  in  all  branches,  and  which  is 
the  legitimate  successor  of  the  Con- 
servatorii  known  as  the  Pieta,  the 
Mendicanti,  the  Ospedaletto  and  the 
Incurabili,  a-ll  originally  charitable 
organizations,  where  children,  and 
especially  girls,  might  be  trained  in 
music,  and  from  which,  at  a  suitable 
age,  they  were  dowered  by  the  state, 
either  for  marriage  or  the  religious 
life.  Performances  of  sacred  works 
by  the  pupils  of  these  great  schools 
were  highly  admired  by  contemporary 
musicians  from  all  parts  of  the  world. 
From  the  first  half  of  the  16th  cen- 
tury, when  WILLAERT  became  chapel- 
master of  San  Marco  Cathedral, 
and  founded  what  became  known  as 
the  Venetian  school,  the  influence  of 
Venice  in  art  was  of  extreme  impor- 
tance. There,  too,  was  the  home  of 
MONTEVERDE  from  whom  the  mod- 
em science  of  harmony  dates  its  be- 
ginnings. There,  in  1637,  was  opened 
the  first  Opera  House,  to  which  the 
general  public  might  obtain  admission, 
known  as  the  Teatro  di  San  Cassiano, 
for  which  Monteverde  composed  his 
new  opera  "  L'Adone,"  1640.  It  is 
worth  while  to  record  that  the  men  who 
risked  their  fortunes  in  this  first  lyric 
theatre  were  the  theorbist,  Benedetto 
Ferrari,  and  the  composer,  Manelli  da 
Tivoli.  So  well  did  their  project  suc- 
ceed that  by  the  beginning  of  1700,  11 
opera  houses  had  been  erected  in  Ven- 
ice alone.  Of  the  modern  opera  houses 
in  Venice  the  most  celebrated  have 
been  La  Fenice  and  the  San  Mose. 

Veni  Creator  Spiritus  is  the  hymn 
provided  in  the  Roman  Breviary  for 
the  Feast  of  the  Pentecost  at  Vespers, 
and  is  likewise  sung  at  ordinations, 
and  on  other  solemn  occasions.  Tra- 
dition makes  Charlemagne,  its  author. 
The  most  celebrated  of  the  polyphonic 
settings  is  that  of  Palestrina.  Bishop 
Cosyn  wrote  the  version  used  in  the 
Anglican  Church. 

Venite  Exultemus  Domino.  The 
opening  words  of  the  Vulgate  version 
of  Psalm  95.    In  the  Anglicati  Church 


VENTADOXTB    THEATBE      698 


VERDI 


this     psalm     is     sung    at     Morning 
Prayer. 

Ventadour  Theatre,  Paris,  was 
opened  to  the  public,  1640,  and  was 
used  for  opgra  comique  from  1829  to. 
1832,  when  the  company,  which  previ- 
ously had  been  domiciled  in  the  Salle 
Feydeau,  removed  to  the  Theatre  des 
Nouveautfes.  For  a  time  the  house 
was  used  for  the  Italian  Opera,  and 
then,  after  many  vicissitudes,  became 
a  fashionable  house  for  concerts  and 
a  new  Italian  company.  Rossini's 
Stabat  Mater,  1842,  Verdi's  "Aida," 
and  Requiem,  1876,  were  among  the 
notable  works  which  had  their  first 
Parisian  performance  in  this  house. 
The  old  Theatre  Ventadour  passed  out 
of  existence,  1879. 

Ventil.  Ger.  VALVE  enabling  the 
brass  tubes  of  the  METAL  WIND 
INSTRUMENTS  to  sound  the  semi- 
tones and  tones  between  the  natural 
open  harmonics ;  mechanical  device  on 
the  ORGAN  which  cuts  off  the  wind 
from  a  particular  sound-board. 

Ventile.     /*.     VENTIL. 

Venturelli  (Vincenzo)  composed 
dramatic  works,  and  wrote  on  music. 
B.  1851,  Mantua;  committed  suicide, 
1895. 

Venusto.  It.  Graceful,  fine,  and 
beautiful. 

Venzano  (Luigi)  composed  an 
opera,  popular  songs;  played  'cello; 
taught.   B.  about  1814,  Genoa;  d.  1878. 

Veracinl  (Antonio)  composed  three 
Bets  of  violin  sonatas;  played  violin, 
Florence,  17th  century.  Francesco 
lyiaria  composed  "Adriano,"  1735,  and 
other  operas,  24  sonatas  for  violin; 
much  chamber  music;  played  violin, 
ranking  as  the  foremost  of  his  day, 
and  inspiring  Tartini  to  renewed  tech- 
nical study;  nephew  and  pupil  of 
ANTONIO.  B.  1685,  Florence,  and 
hence  called  "  II  Fiorentino  ";  d.  1750, 
Pisa. 

Veranderungen.  Ger.  VARIA- 
TIONS; arrangement  by  which 
"  stops  "  on  a  harpsichord  were  moved 
in  and  out. 

_  Verbindung.     Ger.    Union,  connec- 
tion, combination,  binding. 
_  Verdelot  (Philippe)  composed  mad- 
rigals   and    church    music;     sang    at 


San  Marco's,  Venice.     B.   Flanders; 
d.  about  1567. 

Verdi  (Giuseppe)  composed  the 
operas  "  ERNANI,"  "RIGOLETTO," 
"TRAVIATA,"  "TROVATORE," 
"  BALLO  IN  MASCHERA,"  "  AIDA," 
"OTELLO,"  "FALSTAFF,"  a  splen- 
did Requiem  for  Manzoni,  two  sym- 
phonies, six  concertos  for  piano,  an 
"  Inno  delle  Nazioni  "  for  the  opening 
of  the  London  Exposition,  1862,  and 
numerous  dramatic  works  besides  those 
named,  all  of  which  combined  to  rank 
him  as  one  of  the  world's  greatest 
composers;  Son  of  an  innkeeper  and 
grocer  at  Roncole,  a  hamlet  near  Bus- 
seto,  in  what  was  formerly  the  Duchy 
of  Parma,  his  fondness  for  music  was 
so  conspicuous  in  childhood  that  his 
parents,  though  very  poor,  managed 
to  get  him  a  little  spinet  when  he  was 
seven  years  old,  and  procured  him  les- 
sons from  Baistrocchi,  the  organist  of 
the  Roncole  church.  In  a  year  the  child 
had  learned  as  much  as  his  teacher 
could  impart,  and  at  10  became 
his  suc9essor  as  organist.  Two  years 
later  he  had  the  good  fortune  to  arouse 
the  admiration  of  Barezzi,  his  father's 
friend  and  patron  in  business,  and  a 
wealthy  merchant  of  Busseto..  Barezzi 
was  president  of  the  local  Philharmonic 
Society,  a  keen  amateur,  and,  having 
taken  young  Verdi  into  his  business, 
soon  placed  him  for  further  instruc- 
tion with  Provesi,  who  was  at  once 
conductor  of  the  Philharmonic  and 
organist  of  the  Busseto  church.  At 
16  he  had  the  admiration  and  friend- 
ship of  all  Busseto.  The  local  Monte 
di  Pieta,  awarded  him  a  stipend  of 
$120  for  two  years,  while  Barezzi  pro- 
vided the  means  for  lessons,  and  the 
young  musician  was  shipped  off  to 
Milan.  Basili,  then  director  of  the 
great  conservatory,  refused  him  a 
scholarship  on  the  ground  that  he 
lacked  talent,  unable  to  foresee  that 
the  institution  over  which  he  presided 
would  one  day  proudly  adopt  as  its 
name  Reale  Conservatorio  di  "Giu- 
seppe Verdi "  di  Milano,  but  Lavigna, 
cembalist  of  La  Scala  accepted  him 
as  a  pupil,  and  the  boy  studied  indus- 
triously under  that  master  for  the 
next  two  years.     In   1833  Verdi  re- 


VEBDI 


699 


VEBiBI 


turned  to  succeed  his  former  teacher,   say,  his  career  as  a  composer  may 
Provesi,  as  church  organist  and  con-    rightly  be   said  to  have  begun.     "  I 
ductor  of   the   Philharmonic  Society.    Lombardi  alia  prima  Crociata,"  Feb. 
Provesi's  death,  however,  proved  the    11,   1843,  La    Scala,    proved    a    still 
occasion  of  a  series  of  feuds  in  the   greater  success,  and  marked  the  be- 
little town,  for  the   church  wardens   ginning  of  Verdi's  imintentional  asso- 
chose  G.  Ferrari  as  organist  in  prefer-    ciation  with  the  political  agitations 
ence  to  Verdi,  and  the  Philharmonic   which   were   soon   to   convulse   Italy. 
Society  thereupon  withdrew  from  as-   The   Milanese   detested  the   Austrian 
sisting  at  the  church  services,  and  re-    rule,  and  were  quick  to  detect  a  pas- 
moved    its    library    and    archives   by    sage  which    could    be    construed    as 
force.    The  wardens  finally  obtained  a   against  the  government.     Verdi  was 
decree    abolishing    the    Philharmonic   not  a  politician,  nor  was  he  inclined 
Society,    but  the    Verdi    faction    re-    to   any  kind   of   activity  aside   from' 
mained  as  strong  as  ever.    The  young   music  other  than  that  of  a  country 
composer     married     Barezzi's     eldest   gentleman,   but   there  was  a  certain 
daughter  in  1836,  and  then  removed    significance     in     the     conspiracy     in 
to  Milan,  taking  with  him  his  first    "  Ernani "   and   in?  the   character   of 
opera  "  Oberto  Conte  di  S.  Bonifacio."    Francis   I,   as    depicted    in    "  Le   roi 
His  master,  Lavigna,  had  interested    s'amuse "    (which   he   was   forced   to 
him  in  a  local  singing  society  which   alter  to  "Rigoletto").    Still  later,  the 
was  preparing  to  give  "  The  Creation."   Neapolitan    authorities    forbade    the 
From  a  volunteer  cembalist,  Verdi  be-    use  of  the  title  "  Gustavo  III "_  for  the 
came  conductor  of  this  organization,    opera  now  known  as  "  Ballo  in  Mas- 
and  a  performance  given  before   the    chera,"  and  he  was  compelled  to  sub- 
Archduke  Ranieri  and  his  court,  won    stitute    "Richard,   Governor   of   Bos- 
him  immediate  recognition  among  the   ton,"  for  the  King,  even  when  the  work 
Milanese  musicians,  and  brought  him'   was  produced  at  Rome._    These  things 
the  commission  to  compose  this  opera,    aroused  apprehensions  in  the  authori- 
which  he  worked  on  during  his  sojourn   ties  which  later  events  fully  justified, 
at   Busseto.     The    opera   was   finally   Naples   set  the  example  of   shoutmg 
produced  at  La  Scala,  1839,  with  fair    "  Viva  Verdi,"  which  might  be  under, 
success,    and    then    the    impresario,    stood  to  mean  "  viva  Vittorio  Emman- 
Merelli     engaged    him   as    composer,    uele  Re  Di  Italia,"  and  later,  when 
Verdi  was  to  compose  an  opera  every    Verdi  was  elected  as  a  deputy  to  the 
eight  months,  and  he  was  to  receive    Italian  Parliament,  was  made  Senator 
S800   for  each,  and  half  the   income    and  Marchese  di  Busseto,  these  inoi- 
from  the  copyright.    The  first  of  these    dents  of  the  stirring  epoch  preceding 
works  was  a  comic  opera,  «Un  Giorno    the  unification  of  Italy  were  doubtless 
rRemo "     It  had  to  be  composed    taken  into  consideration.     To  return 
during  the  months  when  Verdi  was    to  the  chronological  order  of  events  m 
overwhelmed  with  grief  at  the  death    the  master's  life,  he.  was  married  in 
of  hrwHe  and  two^children.    Natur-    1842    to   Giuseppina    Streppom,   who 
allv  it  proved  a   failure.     Verdi  re-    had  created  the  chief  r5le  m  "Na- 


during  the  months 

Thf wHetnd  to'^hni^nrmt-ux-  1842    to   Giuseppina.   Strepponi.^; 

allv  it  proved  a   failure.     Verdi  re-  had  created  the  chief  role  m 

solved  t?^ite  no  more,  and  asked  bucco.''    In  1844  '  Emani "  was  given 

Merem  to  release  him  from  his  con-  at  La  Penice  Venice,  where  »t  created 

fract      Merelli  wisely   agreed  to   let  immense    enthusiasm,    and   was    pro- 

him  do  Ts  he  pl^sedf  and  then,  some  duced  at  15  other  opera  houses  within 

wedcs  later,  gave  him  Solera's  libretto  the  next  nine  months.     "I  duo  Fos- 

Tr  "NaWo"   (Nebuchadnezzer)   to  cari"   and-  "  Giovanna   d'Arco,"   pro- 

reld  for  amusement.     As  the  iJpre-  duced  respectively  at  the  Argentina 

sario    had   doubtless    foreseen,   Verdi  Rome,    and    ^^  ^^  ..f^?-' .."^Z  ^7 

™uld  not  resist  the  creative  instinct,  highly  successful.     "Attila,    Mar.  17, 

X  on  Mar.  9,  1842,  this  opera  was  1846,  La  Scala,  had  a  vogue  partly 

Wormed  ^th  complete  success,  and  due   the   opportunity   again   afforded 

Su    as  Verdi  wL  accustomed  to  for  a  demonstration  against  Austria, 


VEBDI 


700 


VEKDOITCX 


but  "Macbeth,"  owing  to  the  omis- 
sion of  a  good  tenor  part,  failed  to 
please  when  given  a  year  later  at  La 
Pergola,  Florence.  "I  Masnadien,' 
to  book  based  on  Schiller's  "Rob- 
bers," was  composed  for  and  performed 
at  Her  Majesty's  London,  July  22, 
1847,  and,  while  not  highly  successful, 
led  to  an  invitation  to  Verdi  to  settle 
in  London  as  a  conductor.  His  Italian 
contracts  made  it  impossible  for  him 
to  accept  this  engagement.  His  next 
work,  "II  Corsaro,"  was  produced  at 
Trieste,  Oct.  26,  1848,  and  "La  Bat- 
taglia  di  Legnano"  at  Rome,  Jan. 
27,  1849.  Neither  were  successful. 
"Luisa  Miller,"  Dec.  8,  1849,  still 
holds  its  own  in  Italy,  but  it  was 
Verdi's  last  work  in  the  then  accepted 
Italian  style.  "  Stiifelio,"  Trieste, 
1850  ("Guglielmo  Welingrode"),  and 
later  known  as  "Aroldo,"  was  a  com- 
plete failure,  but  Verdi,  who  had  just 
taken  possession  of  his  villa  Sant' 
Agata;,  near  Busseto,  was  now  enter- 
ing upon  his  most  useful  period.  The 
first  opera  composed  at  Sant'  Agata 
was  "Rigoletto."  Piave  prepared  the 
libretto  based  on  Hugo's  "Le  roi 
s'amuse,"  and  it  was  proposed  that 
the  opera  should  bear  the  same  title. 
The  Austrian  police  objected,  and  ne- 
gotiations finally  ended  when  the  gov- 
ernment agreed  that,  with  certain 
changes,  the  work  might  be  produced 
with  a  Duke  in  the  chief  rOle  instead 
of  a  King.  Verdi  completed  this  score 
in  40  days,  and  it  was  performed 
Mar.  11,  1851,  at  Venice.  Its  popu- 
Jarity  was  immediate  and  still  con- 
tinues. "  Trovatore,"  Apollo  Theatre, 
Rome,  Jan.  19,  1853,  was  likewise  an 
immediate  success,  but  the  excessively 
fat  Mme.  Donatelli  completely  ruined 
"  Traviata  "  when  given  at  La  Fenice, 
Venice,  Mar.  6  of  the  same  year.  The 
following  works  are  now  of  interest 
chiefly  as  indicating  the  gradual 
change  in  methods  of  dramatic  treat- 
ment, which  culminated  in  "Aida": 
"  I  Vespri  Siciliani,"  Paris,  June  13, 
1855;  "Simon  Boccanegra,"  Mar.  12, 
1857,  Venice;  "  Ballo  in  Masehera," 
Feb.  17,  1859,  Rome ;  "  Forza  del  Des- 
tlno,"  Nov.  10,  1862,  St.  Petersburg; 
"Don  Carlos,"  Mar.  11,  1867,  Paris. 


Commissioned  by  the  Khedive  of 
Egypt  to  compose  an  opera  for  the 
festivities  incident  to  the  opening  of 
the  Suez  Canal,  and  allowed,  besides 
an  honorarium  of  $15,000,  unlimited 
expense  for  its  production,  he  evolved 
"Aida,"  which  was  performed  at 
Cairo,  in  the  presence  of  the  court 
and  numerous  visiting  potentates  Dec. 
27,  1871.  This  is  the  work  which  has 
proved  the  inspiration  of  the  Young 
Italian  school  of  composers,  and  shows 
the  closest  approach  to  complete  mas- 
tery of  the  orchestra,  and  intimate 
connection  of  text  and  music  which 
had  been  produced  1^  any  Italian 
up  to  that  time.  "  Otello,"  treated 
in  the  same  spirit,  proved  a  complete 
triumph  for  the  composer  when  pro- 
duced at  Milan,  1887.  During  the 
next  13  years  Verdi  remained  in 
silence,  except  for  the  Manzoni  Re- 
quiem, 1874,  but  in  1893  the  one  event 
of  the  musical  world  was  the  perform- 
ance of  his  "  Falstaff,"  a  comic  opera 
which  ranks  with  the  world's  best  pro- 
ductions of  its  class.  Admired  and 
venerated  in  his  old  age,  Verdi  had 
received  decorations  and  honours  from 
all  parts  of  the  world.  He  lived 
quietly  and  simply,  and,  having  sur- 
vived his  wife  and  all  near  relations, 
willed  the  bulk  of  his  estate  for  the 
establishment  of  a  home  for  aged  and 
infirm  musicians.  As  his  end  ap- 
proached he  expressed  the  wish  that 
hij  funeral  should  be  without  display, 
but  none  the  less  100,000  people  as- 
sembled on  that  occasion  to  do  honour 
to  his  memory.  Besides  the  operas 
named,  he  composed  a  Pater  Noster 
for  two  sops.,  con.,  ten.,  and  bass;  an 
Ave  Maria  for  sop.  and  strings;  a 
Mass;  a  Vesper  Service;  three  Tan- 
tum  Ergos;  incidental  music  to  Man- 
zoni's  tragedies,  and  a  string  quartet. 
Most  of  the  works  composed  between 
the  ages  13  and  18  have  been  lost.  B. 
Oct.  9,  1813,  Ronoole;  d.  Jan.  27,  1901, 
Milan.  See  biographies  by  Gino  Mon- 
aldi,  Ger.  trans.,  Holthof,  Leipsic, 
1898;  Checchi,  1887,  Blanche  Roose- 
velt, 1887,  London. 

Verdonck  (Cornelius)  composed 
and  conducted  church  music.  B.  1564, 
Turnhout,  Belgium;  d.  1625,  Antwerp, 


VERE-SAPIO 


701 


VERSE 


Vere-Sapio,  de  (Clementine  Du- 
chene)  sang  sop.  in  opera,  debut  in 
Florence  at  17,  afterwards  touring  at 
the  head  of  the  company  of  which 
Signer  Sapio,  her  husband,  was  man- 
ager ;  sang.  Metropolitan  Opera  House, 
New  York,  and  Covent  Garden,  Lon- 
don, 1900-1,  and  at  many  festivals; 
pupil  of  Mme.  Albertini-Baucarde.  B. 
Paris. 

Verg^ugt.     Gfer.    Pleasantly. 

Verhallend.    Oer.    Dying  away. 

Verhaltniss.      Oer.     Proportion. 

Verhulst  (Johannes  Josephus 
Herman)  composed  a  Requiem,  other 
church  music,  symphonies,  chamber 
music,  part-songs;  conducted  the 
Felix  Meritis,  Cecilia,  and  other  im- 
portant concerts  at  Amsterdam  and 
The  Hague,  where  he  was  also  court 
conductor;  played  violin;  was  the 
intimate  of  Schumann  and  Mendels- 
sohn; pupil  of  the  Royal  Music 
School  at  the  Hague,  and  later  of  the 
IJeipsic  Conservatory.  B.  The  Hague, 
Mar.  19,  1816;   d.  1891. 

Verilay.     Pr.    VAUDEVILLE. 

Verkaufte  Braut.  Friedrich  Sme- 
tana's  three-act  opera,  known  in  the 
original  Czech  version  as  "  Prodana 
Nevesta,"  and  in  English  as  "  The 
Bartered  Bride,"  was  first  performed 
at  Prague.  The  first  act  reveals  a 
kirmess  in  a  Bohemian  village  at 
which  the  peasants  are  amusing  them- 
selves. Mary,  daughter  of  the  rich 
farmer  Kruschina,  takes  no  part  in 
the  merry-making,  for  she  loves  Hans, 
her  father's  man  servant,  and  her  par- 
ents have  determined  she  shall  marry 
Wenzel,  son  of  Micha,  a  wealthy  peas- 
ant from  a  neighbouring  village. 
Vainly  does  Kezul,  the  marriage 
broker,  plead  with  her  for  his  client. 
She  will  have  none  of  Wenzel,  and 
frankly  tells  Kezul  that  she  loves 
Hans.  In  the  second  act,  Wenzel  does 
his  wooing  in  person,  but  with  no 
better  result.  Mary  upbraids  him  for 
attempting  to  force  a  marriage  on  a 
girl  who  cares  nothing  for  him.  Kezul 
thereupon  seeks  out  Hans  and  offers 
him  a  sum'  of  money  if  he  will  promise 
to  withdraw  as  a  suitor,  and  on  learn- 
ing that  his  rival  is  a  son  of  Micha, 
Haas    pockets    the    money,    agreeing 


that  "  only  Micha's  son  shall  wed 
Mary."  The  villagers  are  disgusted 
with  the  lad's  lack  of  spirit,  for  he 
makes  this  declaration  publicly.  In 
the  next  act,  Wenzel  has  fallen  in  love 
with  Esmeralda,  a  Spanish  dancer  who 
belongs  to  a  troupe  of  strolling  enter- 
tainers. The  foolish  swain  agrees  to 
play  the  part  of  a  dancing  bear  in 
order  to  be  near  Esmeralda,  and  is 
just  getting  into  his  bearskin  when  his 
parents  summon  him  to  sign  the  mar- 
riage contract.  He  declines  to  obey 
them.  Kezul  shows  Mary  a  document 
in  which  Hans  expresses  the  wish  that 
she  marry  "  Micha's  son,"  but  she  still 
loves  Hans,  and  refuses  to  marry  Wen- 
zel, although  when  Hans  presents  him- 
self, she  scolds  him  for  his  lack  of  gal- 
lantry. When  he  tells  her  that  he 
wishes  her  to  marry  "  Micha's  son," 
the  girl  at  last  consents.  Now,  how- 
ever, Hans  ,  presents  himself  before 
Micha,  who  recognizes  in  him  a  son  by 
an  earlier  marriage,  who  had  been  un- 
able to  get  along  with  his  step-mother, 
and  had  run  away  from  home.  As 
"  Micha's  son "  he  is  still  eligible  to 
marry  Mary,  and  the  antics  of  Wenzel 
as  a  dancing  bear  have  quite  overcome 
any  prejudice  that  old  Kruschina  felt 
in  his  favour,  and  the  lovers  are  thus 
happily  united. 

Vermindert.  Qer.  Diminished,  as 
Dreiklang,  diminished  triad. 

Vernier  (Jean  Aimg)  played  harp 
and  composed;    Paris,  18th  century. 

Vernon  (Joseph)  sang  sop.  and 
later  ten.  at  London  operas  and  at 
Vauxhall;  composed  popular  songs. 
D.  1782. 

Veron  (DesirS)  managed  the  Paris 
Opera  for  five  years  from  1831,  mak- 
ing a  large  fortune;  founded  the 
"Revue  de  Paris,"  and  was  propri- 
etor of  the  "  Constitutiennel " ;  wrote 
novels  and  his  own  memoirs.  B.  1798, 
Paris;    d.  1867. 

Verovio  (Simone)  published  music 
in  Rome,  where  he  was  the  first  to  use 
the  copper-plate  process,  1586-1604. 

Verschiebung.  Qer.  Soft  pedal 
of  a  piano. 

Verse.  Parts  of  an  ANTHEM  or 
service  to  be  sung  by  a  single  voice  to 
a  part;    stanza  of  a  song  or  ballad; 


VEKSETTE 


702 


VIABDOT-GABCIA 


verse  anthem  begins  with  soli  parts 
as  opposed  to  a  full  anthem  beginning 
with  a  chorus. 

Versette.  Ger.  Brief  pieces  for 
the  organ  used  as  preludes  or  volun- 
taries. 

Versetzen.     Ger.    Transpose. 

Versetzungszeichen.  Oer.  Acci- 
dentals used  in  NOTATION. 

Versiculum.  L.  Versicle;  a  short 
sentence  in  the  service  of  the  church 
followed  by  a  response. 

Verspatung.  Ger.  Delay,  retard- 
ation. 

Verstimmt.     Ger.    Out  of  tune. 

Versus  Eescennini.  L.  Nuptial 
songs  first  used  by  the  Fescennians  in 
Etruria.  The  Epithalamium  was  de- 
veloped from  this  kind  of  poetry  al- 
though it  was  of  a  more  refined 
character. 

Vertatur,  Verte.    L.    "  Turn  over." 

Verwandt.  Ger.  Related,  as  ton- 
arten,  related  keys. 

Verwechselung.  Ger.  Changing 
or  altering  the  tone,  time,  or  key. 

Verweiland.     Ger.    Delaying. 

Verwerfung.     Ger.    Transposing. 

Verzierungen.  Oer.  Ornaments, 
embellishments. 

Verzogerung.     Ger.     Retardation. 

Vesperae.  L.  Vespers,  the  most 
important  musically  of  the  Horae  Can- 
onicae,  of  which  it  is  next  to  the  last. 
There  are  first  the  versicle  and  re- 
sponse "  Deus  in  adjutorium,"  fol- 
lowed by  five  psalms,  each  with  its 
proper  antiphon,  then  a  capituliun,  a 
hymn,  the  Magnificat,  with  a  special 
antiphon,  the  prayer  for  the  day,  and 
Commemorations.  Where  Compine  is 
observed,  the  vespers  end  with  the 
Commemoration,  but  otherwise  pro- 
ceed to  one  of  the  "  antiphons  of  Our 
Lady,"  which  include  "  Alma  Ee- 
demptoris,"  "Ave  Regina,"  "Regina 
Coeli,"  and  "  Salve  Regina." 

Vesperale.  L.  Vesperal;  portion 
of  the  Antiphonariimi  Romanum  con- 
taining the  music  and  words  of  all 
psalms,  canticles,  versicles,  etc.,  sung 
at  Vespers  throughout  the  year. 

Vestris  (Eliza  Lucy)  sang  con.  in 
London  operas,  debut,  1815,  King's 
Theatre,  where  her  husband  was  ballet 


in  both  serious  and  comic  opera  in 
Paris.  For  a  time  she  assisted  her 
second  husband,  Charles  Matthews,  to 
manage  Covent  Garden.  B.  1797; 
daughter  of  the  artist  Bartolozzi  and 
granddaughter  of  the  famous  en- 
graver;   d.  Aug.  8,  1856,  Fulham. 

Vezzosamente.  /*.  Softly,  ten- 
derly, and  gracefully. 

Vezzoso.  It.  Tender,  sweet,  and 
graceful. 

Viadana  (Ludovico  Grossi)  in- 
vented the  term  basso  continue,  and 
was  first  to  apply  this  form  of  accom- 
paniment to  church  music,  of  which 
he  was  a  prolific  composer;  chapel- 
master  and  priest  at  Fano,  Concordia, 
and  finally  at  Mantua.  B.  about  1565, 
Lodi;    d.  after  1644. 

Vianesi  (Auguste  Charles  Xeon- 
ard  Erangois)  conducted  opera  at 
Drury  Lane,  London,  then  New  York, 
Moscow,  St.  Petersburg,  12  years  at 
Covent  Garden,  l^ter  at  Paris  Op6ra, 
and  again  New  York.  B.  Nov.  2,  1837, 
Leghorn;  adds  Paris. 

Vianna  da  Hotta  (JosS)  played 
piano,  making  successful  tours  of 
Europe;  pupil  of  Lisbon  and  Schar- 
wenka  conservatories,  and  of  SchafFer, 
Liszt,  and  von  Bulow;  of  Portuguese 
parentage.  B.  April  22,  1868,  Isle  of 
St.  Thomas,  Africa;    add.  Paris. 

Viard-Louis  (Jenny)  played  piano 
in  concert,  and  taught  in  London; 
prize  pupil  Paris  Conservatoire.  B. 
Sept.  29,  1831,  Carcassonne;  maiden 
name  Martin;  m.  Louis,  the  com- 
poser, then  Viard,  a  Paris  merchant. 

Viardot-Garcia  (Michelle  Ferdi- 
nand Faullne)  sang  mez.  sop.  in 
opera  with  distinguished  success,  de- 
but in  concert,  1837,  Brussels,  and  in 
opera.  May  9,  1839,  Her  Majesty's 
Theatre,  London,  as  "  Desdemona  "  in 
"Othello,"  thereafter  as  " Orphfie " 
and  "  Alceste  "  in  Gluck's  operas,  as 
"Rosina,"  "Norma,"  "Arsaoe,""Azu- 
cena,"  "Fides,"  "Valentine,"  etc.,  in 
all  parts  of  the  world.  Pupil  of  her 
father  and  Manuel  GARCIA,  and  of 
her  mother  in  vocal,  she  had  been 
trained  at  the  piano  by  Marcos  Vega 
while  living  with  her  parents  in  New 
York,  and  afterwards  studied  that  in- 


.;xi,    11  r_. 


VIBRANTE 


703 


During  an  engagement  in  Paris,  1839, 
she  married  Viardot,  an  impresario 
and  journalist,  who  resigned  from  the 
Opera  and  managed  her  tours. 
"  Fides  "  in  "  Prophete  "  and  "  Sapho  " 
in  the  Gounod  opera  were  her  prin- 
cipal creations.  In  1863  she  retired 
for  a  time  to  Baden-Baden,  and  then 
settled  in  Paris,  where  she  devoted  her- 
self to  teaching  and  composition,  her 
works  including  a  vocal  method,  three 
operas,  60  songs,  and  six  pieces  for 
violin  and  piano.  When  in  the  zenith 
of  her  power  her  voice  ranged  from 
c  to  f".  B.  July  18,  1821,  Paris. 
See  biography  by  La  Mara.  Louise 
H.  composed  two  comic  operas,  piano 
quartet;  taught  vocal  at  the  Frank- 
fort Hoch  Conservatory  to  1886,  when 
she  founded  her  own  school  in  Berlin. 
B.  Dec.  14,  1841,  Paris;  daughter  of 
M.  F.  P.;  add.  Berlin.  Mme.  Cham- 
erot  and  Marianne  Viardot  were  con- 
cert singers;  pupils  and  daughters  of 
M.  F.  P.  Paul  played  violin;  was 
conductor  Paris  Opigra;  pupil  of 
Leonard.  B.  July  20,  1857,  son  of 
M.  F.  P.;    add.  Paris. 

Vibrante.  /*.  Vibrating,  tremu- 
lous. 

Vibration.  Term  in  ACOUSTICS, 
for  the  wave-like  motion  by  which  a 
musical  tone  is  produced. 

Vibrato.  Tremulous  quality  of 
tone  or  the  affected  tremolo  as  opposed 
to  an  equal  pure  production. 

Vicar  Choral.  LAY  VICAK  or 
singer  in  a  Cathedral  choir,  not  in 
orders. 

Vidal  (B.)  composed  sonatas  and 
wrote  a  method  for  guitar,  on  which 
he  was  virtuoso.  D.  Paris,  1800. 
Jean  Joseph  played  20  years  in  Bail- 
lot's  quartet,  conducted  at  Theatre 
Italien;  played  first  violin  Louis  Phil- 
ippe's band;  prize  pupil  of  Kreutzer. 
B.  1789,  Soreze;  d.  1869,  Piaris.  Louis 
Antoine  wrote  "Les  Instruments  a 
archet,"  1878,  etc. ;  played 'cello;  pu- 
pil of  Franch6mme.  B.  July  10,  1820, 
Rouen.  Frangois  wrote  "  Lou  Tam- 
bourin,"  which  gives  a  history  of  the 
Provencal  pipe  and  tabor.  B.  July 
14,  1832,  Aix. 

Vidal  (Paul  Antonin)  composed 
the   three-act   lyric   fantasy   "  Eros," 


VIENNA 


1892;  the  ballet  "La  maladetta," 
1893 ;  the  lyric  drama  "  Guernica," 
Op6ra  Comique,  1895 ;  the  suite  "  Les 
mysteres  d'Eleusis"  for  orchestra; 
conducted  at  Paris  Opfira;  taught 
solfege  at  the  Paris  Conservatoire, 
where  he  won  the  prix  de  Rome,  1883, 
with  his  cantata  "  Le  Gladiateur."  B. 
June  16,  1863,  Toulouse;   add.  Paris. 

Vide.    Fr.    Open. 

Vido.    /*.    Open. 

VieL  Ger.  "  Much,"  as  mit  vielem 
tone,  with  much  tone. 

Vielle.    Fr.    HURDY-GURDY. 

Vielstimmig.  Q&r.  For  many 
voices. 

Vienna  is  the  seat  of  the  Imperial 
Opera,  an  institution  which  is  ante- 
dated only  by  those  temporary  organ- 
izations which  assisted  at  the  birth  of 
this  form  of  art  in  Florence  and 
Venice.  Works  of  Cavalli  and  Cesti 
dating  from  the  first  half  of  the  17th 
century  now  in  the  archives  of  the 
Imperial  Court  Library,  where 
countless  other  valuable  records  of 
early  musical  activity  are  stored,  give 
sufficient  proof  that  the  capital  of  the 
Holy  Roman  Empire  had  become  fa- 
miliar with  "  opera  in  musica  "  almost 
as  soon  as  it  had  received  definite  form 
in  its  native  Italy.  Still  earlier  the 
Imperial  Court  Chapel  and  the  choir 
of  St.  Stephen's  had  drawn  the 
best  musicians  from  all  parts  of  the 
world  to  Vienna,  and  training  schools 
had  been  established  for  the  educa- 
tion of  singers  and  instrumentalists. 
The  Cantorei  of  St.  Stephens,  and  the 
Convict  of  the  Hofcapelle,  where 
many  important  composers  from  the 
Haydns  to  Schubert  were  trained,  were 
based  on  precisely  the  same  general 
principles  which  governed  the  Matt- 
rise  of  France,  the  Cathedral  School 
of  England,  or  to  point  out  an  iso- 
lated example,  the  THOMASSCHULE 
at  Leipsic.  But  with  the  beginnings  of 
opera,  Viennaf  assumed  an  even  more 
commanding  position  in  the  world  of 
music.  Such  great  composers,  teach- 
ers, and  theorists  as  Porpora  and  Fux 
were  called  in  to  lend  their  talents  to 
the  establishment  of  opera,  and  to 
give  the  history  of  opera  in  Vienna 
would  amount  to  that  of  music  itBelf. 


VIENNA 


704 


VIEUXTEMPS 


For  the  decade  ending  1907  Gustav 
MAHLER  had  been  chiefly  responsible 
for  the  high  standard  maintained  at 
the  Imperial  Opera.  When  he  retired 
to  become  chief  director  at  the  Metro- 
politan Opera  House  in  New  York, 
Felix  WEINGARTNER,  one  of  the 
■world's  foremost  "  prima  donna  con- 
ductq^B,"  was  taken  from  the  Berlin 
Royal  Opera  to  succeed  him.  The  first 
year  of  Weingartner's  tenure  of  oflBce 
was  signalized  by  the  production  of 
"Red  Gred,"  by  Julius  Bittner,  the 
cordial  reception  of  which  made  other 
Austrian  composers  hopeful  of  an 
early  hearing.  But  if  Vienna  was 
compelled  to  draw  upon  Italy  for  its 
opera,  it  was  the  home  of  the  string 
quartet  and  the  symphony.  Four  of 
the  greatest  names  in  music,  Haydn, 
Mozart,  Beethoven,  and  Schubert  are 
intimately  associated  with  the  city, 
and  of  these  the  first  three  may  be 
said  to  have  given  the  symphony  and 
chamber  music  their  final  FORM, 
while  Schubert,  the  master  of  song, 
contributed  some  of  his  best  work  to 
the  enrichment  of  the  purely  Viennese 
literature  of  this  class.  Besides  the 
Hofoper,  Vienna  contains  the  Theatre 
an  der  Wien  and  the  Karnthnerthor 
Theatre.  It  is  the  home  of  the  GE- 
SELLSCHAFT  DER  MUSIK- 
FREUNDE,  one  of  the  oldest  and  most 
important  musical  societies  in  the 
world,  The  AUGARTEN  and  the  RE- 
DOUBTENSAAL  were  famous  for  the 
concerts  of  the  classic  period,  and 
the  hall  of  the  Gesellschaft  is  among 
the  best  known  music  centres  of  recent 
times.  Besides  many  private  music 
schools,  Vienna  possesses  the  excellent 
Conservatory  which  was  founded  by 
the  Gesellschaft,  and  taught  thou- 
sands of  students  from  1817,  and 
which  possessed  a  complete  faculty  for 
music,  opera,  and  the  drama.  From 
1851  the  Conservatory  was  headed  by 
Hellmesberger,  and  Ernst,  Goldmark, 
Joachim,  Richter,  and  Standigl  were 
among  the  most  distinguished  students 
during  this  golden  period.  The  teach- 
ing staflF  averaged  60,  and  the  enroll- 
ment 1000.  The  most  important  of 
the  early  Vienna  publishing  houses 
were  those  of  ARATARIA  and  DIA- 


BELLI.  Of  the  piano  makers  the 
STREICHERS  were  among  the  best 
known. 

Vierdank  (Tohaiiii)  played  organ 
and  composed;    Stralsund,  1641. 

Vierfach.  Chr.  Four-fold;  ha;ving 
four  ranks  of  organ  pipes. 

Viergesang.  Ger.  Song  for  four 
parts. 

Vierliug  (Georg)  composed  over- 
tures to  "The.  Tempest/'  "Maria 
Stuart,"  "Im  Fruhling,"  etc;  sym- 
phony. Op.  33;  conducted;  played 
organ  and  piano;  founded  a  Bach 
choir  in  Berlin,  of  which  he  was  long 
conductor;  royal  professor.  Dr.  Mus., 
etc. ;  pupil  of  Rinc^  and  Marx.  Other 
compositions,  "  Alarichs  Tod,"  "  Kon- 
stantin,"  "  Der  Raub  der  Sabinerin- 
nen,"  Op.  50,  Psalm  137  with  orches- 
tra. B.  Frankenthal,  Palatinate,  Sept. 
5,  1820;    d.  June,  1901,  Wiesbaden. 

Vierspiel.  Qer.  Quartet;  a  com- 
position in  four  parts. 

Vierstimmig.  &er.  For  four  voices 
or  instruments  or  in  four  parts. 

Vierstiiok.  ffer.  Work  for  four 
players,  a  quartet. 

Viertelnote.  Ger.  Quarter  note, 
crochet,  fourth  part  of  a  semibreve. 

Viertheilston.  Ger.  Quarter  tone, 
half  a  semitone. 

Viervierteltakt.  Ger.  Duple  time 
of  four  crochets  in  a  measure. 

Vierzweiteltakt.  Ger.  Duple  time 
of  four  minims  in  a  measure. 

Vieuxtemps  (Henri)  composed  the 
violin  sonatas  No.  1  in  E,  Op.  10 ;  No. 
2  in  F  sharp  minor.  Op.  19 ;  No.  5,  A 
minor,  Op.  37;  a  Faintasie  Caprice, 
Ballade  et  Polonaise,  sonata  for  violin 
and  piano,  cadenzas  for  Beethoven's 
violin  concerto,  which  are  still  played, 
"  Homage  a  Paganini,"  variations  on 
"Yajikee  Doodle,"  and  much  other 
music  which  has  been  forgotten;  was 
one  of  the  foremost  of  French  violin- 
ists, touring  Europe  with  great  success 
and  America,  1844-57-70,  debut  at 
eight.  Pupil  of  Leeloux.  then  of  de 
Beriot,  Sechter,  and  Reicha,  he  de- 
served and  enjoyed  great  popularity. 
He  was  solo  violinist  to  the  Czar,  and 
violin  teacher,  St.  Petersburg  Con- 
servatory, 1846-52;  taught  at  Brus- 
sels Conservatory  and  conducted  the 


VIF  705  VIIiliOTTE 

?.??1^"  Concerts,  Brussels,  1871-73,    University,  from  1890;  pupil  of  Ther- 


when  his  retirement  was  enforced  by 
paralysis;  chevalier  of  the  Order  of 
Leopold.  B.  Feb.  20,  1820,  Verviers, 
Belgium;  d.,June  6,  1881,  Algiers. 
See  biography  by  Randoux,  1891. 

Vif.     Fr.    Lively,  brisk. 

Vigano  (Salvatore)  composed  the 
opera  "  Raoul,  sire  de  Crequi  " ;  ar- 
ranged and  danced  in  Beethoven's 
ballet  "Prometheus."  B.  Mar.  29, 
1769,  Naples;  d.  Aug.  10,  1821, 
Milan. 

Vigna  (Arturo)  conducted  Italian 
operas  at  the  Metropolitan  Opera 
House,  New  York,  during  the  Con- 
ried  administration,  and  at  Covent 
Garden;  pupil  of  the  Milan  Con- 
servatory. 

Vigorosamente.    It.    Vigorously. 

VigoroBo.  /*.  Vigorous,  forcible, 
bold. 

Vigiiela.  8p.  Simple  kind  of 
guitar. 

Vilbac,  de  (Alphonse  Charles  Be- 
iiaud>  composed  "  Au  clair  de  Lune  " 
and  other  successful  light  operas; 
played  organ,  St.  Eugene,  Paris,  1855- 
71 ;  pupil  of  Halfivy  at  the  Paris  Con- 
servatoire, where  he  captured  the  prix 
de  Rome,  1844.  B.  June  3,  1829,  Mont- 
pellier;   d.  Mar.  19,  1884,  Brussels. 

Villageois.     Fr.    Rustic. 

Villancico.  Sp.  Song  in  the  popu- 
lar metre  of  the  15th  century,  com- 
posed of  two  or  more  stanzas,  each 
having  seven  lines  and,  like  the  mad- 
rigal, of  epigrammatic  form.  Motets 
sung  on  Christmas  Eve,  which  are 
always  called  Villaneicos. 

Villanella.  It.  Rustic  dance  ac- 
compajiied  with  singing,  the  melody 
usually  lively  and  the  rhythm  well 
marked.  When  any  words  were  used 
they  were  commonplace,  and  were  sim- 
ilar to  madrigals  and  ballets.  The 
villanella  or  villotte  and  villancico 
were  the  precursors  of  the  madrigal. 
The  term  later  came  into  use  to  de- 
scribe compositions  in  rustic  style  not 
intended  for  voices,  which  were  em- 
bellished with  variations  on  the  origi- 
nal subject. 

Villanesco.     /*.    Rustic. 

Villanis  (Luig^  Alberto)  taught 
music    aesthetics    and    history,    Turin 


mignon  and  Cravero;  LL.D.,  Turin, 
1887.  B.  June  20,  1863,  San  Mauro, 
Turin;   add..  Turin. 

Villarosa,  di  (IXarquis  Carlo  An- 
tonio) wrote  life  of  Pergolesi  and  val- 
uable account  of  Neapolitan  com- 
posers; royal  historiographer.  B. 
1762,  Naples;    d.   1847,  Naples. 

Villars,  de  (Frangois)  wrote  his- 
torical and  critical  works  on  music. 
B.  1825,  He  de  Bourbon;  d.  1879, 
Paris. 

Villebois(Constantin  Petrovitoh) 
composed  and  taught.  B.  1817,  War- 
saw;   d.  1882. 

^  Villi.  Giacomo  Puccini's  two-act 
fairy  opera  was  composed  for  a  com- 
petition instituted  by  the  publisher 
Sonzogno,  but  failed  to  receive  the 
award.  The  composer  then  revised  the 
work,  raised  it  from  one  to  two  acts, 
and  it  was  first  performed  May  31, 
1884,  at  the  Teatro  dal  Verme,  Milan. 
Although  the  "  Wilis  "  or  "  Villi  "  are 
supposed  to  have  been  Servian  fairies, 
the  composer  lays  the  scene  of  his 
opera  in  the  Black  Forest.  The  opera 
opens  with  the  betrothal  of  Roberto  to 
Anna,  daughter  of  Guglielmo  Wulf, 
and  these  three  rSles,  ten.,  sop.,  and 
bar.,  respectively,  are  the  only  solo 
parts,  the  rest  of  the  action  devolving 
on  choruses  of  fairies  and  peasants. 
After  the  betrothal  Roberto  goes  to 
Mayence,  where  he  plunges  into  dissi- 
pation, prolonging  his  absence  until 
Anna  despairs  of  ever  seeing  him 
again,  and  finally  dies  of  a  broken 
heart.  The  second  act  reveals  Anna's 
funeral.  Roberto  returns  in  time  to 
meet  the  cortege,  and  is  overcome  with 
horror  at  the  result  of  his  folly.  The 
fairies  then  come  upon  the  scene.  It  is 
their  duty  to  punish  faithless  lovers, 
and  in  aid  of  this  mission  they  bring 
Anna's  ghost  to  upbraid  Roberto;  In 
the  midst  of  a  wild  dance  by  the  Villi, 
Anna  embraces  her  lover,  tvho  in- 
stantly falls  dead  at  her  feet. 

Villoing  (Alexander)  wrote  a 
method  for  piano;  composed  for  that 
instrument,  which  he  played,  and 
taught,  St.  Petersburg.  D.  1878,  St. 
Petersburg. 

Villotte.    /*.     First  secular  pieces 


45 


VILLOTEAtr 


706 


VIOLA  B'AKOBE 


in  harmony  after  the  revolt  against 
the  formalism  of  counterpoint  headed 
by  Monteverde.  Every  liberty  in 
harmony  was  used  in  this  kind  of 
composition,  while  church  music  was 
only  written  according  to  strict  rules. 
Music  of  this  class,  to  which  the  Vil- 
lancico  and  Villanella  also  belonged, 
and  from  which  sprang  the  madrigal, 
was  detested  by  such  scholars  as  Mor- 
ley,  who  wrote,  condemning  the  Vil- 
lotte :  "  even  disallowances  may  be 
taken  at  pleasure,  uniting  a  clownish 
music  to  a  clownish  matter." 

Villoteau  (Guillaume  Andre) 
wrote  part  of  a  notable  work  on  Egypt 
while  a  member  of  the  commission  of 
savants  who  accompanied  Napoleon 
there,  and  numerous  works  on  music; 
pupil  of  the  Mans  Maftrise,  he  later 
sang  ten.  in  the  Paris  Op6ra  chorus, 
studied  at  the  Sorbonne,  etc.  B.  1759, 
Belleme;    d.  1839,  Tours. 

Vina.     Indian  guitar  or  BINA. 

Vincent  (Alexander  Joseph  H.) 
wrote  controversial  works  on  music, 
attempting  to  prove  that  the  Greeks 
were  familiar  with  harmony.  B.  1797, 
Pas  de  Calais;    d.  1868,  Paris. 

Vincent  (Charles  John)  composed 
the  oratorio  "  Ruth,"  the  overture 
"The  Storm,"  8-part  choral  fugue, 
three  cantatas;  played  organ,  Christ 
Church,  London,  1883-91;  Dr.  Mus., 
Oxford;  pupil  Leipsie  Conservatory 
and  of  his  father,  an  organist  of  the 
same  name.  B.  Sept.  19,  1852,  Dur- 
ham, Eng.;  add.  London.  George 
Frederick  composed  the  cantata  with 
orchestra  "  Sir  Humphrey,"  operettas ; 
conducted  and  played  organ,  Sunder- 
land, from  1882;  pupil  Leipsie  Con- 
servatory. B.  Mar.  27,  1855;  brother 
of  CHABLES  JOHN;  add.  Sunderland. 

Vincent  (Heinrich  Joseph)  com- 
posed operas,  operettas,  popular  songs ; 
wrote  on  theory;  taught,  sang,  and 
conducted  in  Vienna,  Halle,  Wurz- 
burg,  and  Czemowitz.  B.  Feb.  23, 
1819,  Theilheim  near  Wurzburg;  d. 
1901. 

Vincentino  (Nicola)  invented  an 
"  archicembalo  "  having  several  key- 
boards to  make  possible  the  restora- 
tion of  the  Greek  modes;  played 
clavier;     composed    and    wrote    on 


theory;  priest  and  chapelmaster  to 
Cardinal  Bste  of  Ferrara;  probably 
pupil  of  Willaert  at  Venice.  B.  1511, 
Vieenza;    d.  about  1576,  Milan. 

Vinci  (Leonardo)  composed 
"Ifigenia  in  Tauride,"  Venice,  1725, 
and  in  all  26  operas,  two  oratorios, 
and  much  church  music;  pupil  of 
Pergolesi,  Porpora,  and  Greco.  B. 
1690,  Strongoli,  Naples;  poisoned 
1732. 

Vining  (Helen  Sherwood)  wrote 
musical  text-books.  B.  July  4,  1855, 
Brooklyn,  New  York. 

Vinning  (Louisa)  played  harp  and 
sang  in  English  concerts,  debut  in 
childhood;  pupil  of  Mori.  B.  Devon- 
shire, Eng.;  m.  J.  S.  C.  Heywood,  1865, 
and  retired. 

Viol.  Bow  instrument  not  unlike 
the  modern  violin  in  shape,  though 
somewhat  larger,  and  having  five  or 
six  strings,  common  throughout  Eu- 
rope from  the  11th  century  until  su- 
perseded by  the  improved  instruments 
developed  by  the  Cremonese  makers. 
The  DOUBLEBASS  is  the  only  viol 
to  be  found  in  the  modern  orchestra, 
although  viols  were  formerly  made 
in  several  sizes  to  correspond  to  the 
modern  string  quartet.  A  set  of  these 
instruments  was  called  a  "  chest "  or 
"  consort "  of  viols. 

Viola.  Tenor  VIOLIN,  having  four 
strings,  the  two  lowest  covered  with 
wire,  and  all  tuned  in  fifths,  the  high- 
est sounding  a'.  The  viola  iS  only 
slightly  larger  than  the  violin,  and  the 
technique  of  the  instrument  is  prac- 
tically the  same,  but  as  the  notes  are 
much  rougher  in  quality,  and  have  a 
veiled  tone,  the  viola  is  rarely  used  as 
a  solo  instrument.  In  the  hands  of 
such  a  master  as  Paganini  it  must 
have  sounded  to  better  advantage.  It 
is  certain  that  he  thought  well  of  it, 
since  he  played  it,  and  requested  Ber- 
lioz to  compose  for  it. 

Viola  Bastarda.  Bass  viol  which 
developed  into  the  BAHYTON. 

Viola  d'Amore.  Tenor  VIOL  hav- 
ing from  seven  to  14  sympathetic 
metal  strings  in  addition  to  the 
seven  strings  which  were  run  over 
a  finger  board  for  stopping.  The  sym- 
pathetic strings  give  a  beautiful  eifect, 


VIOLA  DA  BRACCIA 


707 


VIOLIN 


and  though  the  players  on  this  in- 
strument died  out  for  a  time,  and  were 
by  no  means  common  in  1908,  it  can 
no  longer  be  classed  as  obsolete.  An 
obbligato  part  for  viola  d'amore  oc- 
curs in  Meyerbeer's  "  Huguenots." 

Viola  da  Braccia  or  da  Spala. 
Obsolete  six-stringed  viol  which  has 
given  way  before  the  modern  VIOLA, 
which  it  resembled  in  compass.  It  was 
called  "  di  Braceia  "  and  "  di  Spada  " 
when  held  along  the  arm  or  to  the 
shoulder  for  playing. 

Viola  da  Qamba.  A  viol  closely 
corresponding  to  the  modern  'cello  in 
compass,  but  having  six  strings  and  a 
fretted  fingerboard.  It  formed  the 
baas  of  a  "  consort "  of  viols,  and  was 
still  played  in  1908  by  a  few  lovers  of 
old  music.  The  name  is  also  used  for 
an  organ  stop  of  8-ft.  pitch. 

Viola  di  Bordoue.     BARYTON. 

Viola  Fomposa.  It.  Species  of 
VIOLA  DA  GAMBA  invented  by  John 
Sebastian  Bach.  It  had  five  strings, 
the  four  lower  ones  tuned  in  fifths 
like  the  'cello,  while  the  fifth  one  was 
tuned  in  E,  thus  greater  facility  in  the 
execution  of  extended  passages  was 
allowed.  As  the  skill  of  'cello 
players  increased,  the  viola  pomposa 
became  unnecessary. 

Viole  (Budolph.)  played  and  taught 
piano;  composed.  B.  1815,  Sehoch- 
witz,  Mansfeld;  d.  1867,  Berlin. 

Violetta.     Small  VIOL. 

Violetta  Marina.  It.  Stringed 
instrument,  the  tone  of  which  was 
similar  to  the  VIOLA  D'AMORE. 
Called  violetta  piccola  and  Haute- 
contre  by  the  French. 

Violin.  The  most  important  of 
modern  solo  and  orchestral  instru- 
ments, and  the  only  one  which  is 
capable  of  simulating  all  the  eflfects 
of  the  human  voice  save  that  of  articu- 
late speech.  The  name  is  the  diminu- 
tive for  viol,  and  it  is  somewhat 
smaller  than  the  older  instrument 
from  which  it  was  evolved.  The  com- 
pass is  from  g  to  c"",  with  all  inter- 
mediate shades  of  tone,  while  its 
power  for  brilliant  effects,  big  tone,  or 
the  most  delicate  pianissimo  is  prac- 
tically unlimited  in  the  hands  of  a 
skilful  player.    Technically,  the  violin 


may  be  described  as  a  wooden  reson- 
ance box,  pierced  with  two  f-shaped 
sound  holes,  the  back  and  belly 
brought  into  harmonious  vibration  by 
means  of  a  bridge.  At  one  end  is  the 
neck,  which  affords  a  finger-board  for 
three  gut  and  one  wire  spun  string, 
which  are  tuned  in  fifths,  g,  d',  a',  e". 
These  strings  pass  over  a  bridge  about 
midway  between  the  sound  holes,  and 
are  fastened  at  the  lower  end  to  a 
tail,  which  is  in  turn  attached  to  the 
lower  part  of  the  body  or  resonance 
box.  At  the  upper  end  the  strings 
fasten  to  tuning  pegs,  by  which  their 
tension,  and  consequently  their  pitch, 
may  be  altered  or  maintained.  When 
played  by  the  bow,  the  bow,  well 
charged  with  rosin,  is  drawn  across  a 
string  or  strings  with  the  right  hand, 
while  the  strings  are  stopped  with  the 
fingers  of  the  left  hand.  The  har- 
monic register  is  obtained  by  touch- 
ing the  strings  lightly  instead  of 
stopping  them.  The  pizzicato  effect  is 
the  result  of  plucking  the  strings  with 
the  fingers,  and  the  col  legno  by  strik- 
ing them  with  the  wood  of  the  bow. 
The  use  of  the  sordino  or  mute  placed 
on  the  bridge  gives  a  peculiar  mellow 
or  veiled  tone.  The  history  of  the 
violin  may  be  traced  to  the  RAVANA- 
STRON,  played  in  Ceylon  many  cen- 
turies before  the  Christian  era.  Ori- 
ental variations  of  this  instrument 
include  the  Chinese  fiddle  or  Urh- 
heen,  the  Kemangeh,  which  is  common 
in  Moslem  countries,  the  Rebab  of 
Egypt,  from  which  the  early  European 
Rebec  may  be  descended.  From  the 
Rebec  or  Crwth  were  developed  the 
Fithele,  Vitula,  and  finally  the  Viol. 
From  the  viol  to  the  violin  was  but  a 
step.  That  step  was  first  taken  either 
by  Andrea  AMATI  or  by  Gasparo  da 
SALO,  and  the  final  progress  in  the 
perfection  of  the  instrument  may  be 
further  traced  in  the  biographical 
notices  of  the  STRADUARII,  the 
GUARNERII  and  RUGGIERI, 
STAINER,  KLOTZ,  GAND,  LUPOT, 
VUILLAUME,  and  the  evolution  of  the 
bow  in  the  life  of  TOURTE.  See 
Hart's  "  The  Violin,"  "  Violin  making 
as  it  was  and  is,"  B.  H.  Allen ;  "  Les 
Instruments  a  Archet,"  Vidal;   "  Ge- 


VIOLIN    CLEF 


ro8 


VIRGINALS 


schichte     der     Bogen-Instrumente," 
Riihlmaim. 

Violin  Clef.  G-  clef  placed  upon 
the  first  line  of  the  stave  where  it  was 
known  as  the  French  violin  clef.  Now 
obsolete. 

Violiuo  primo.    /*.    First  violin. 

Violino  principale.  It.  Solo  violin 
or  leader. 

Violiuo  Ripieno.  Violin  part  re- 
quired only  to  fill  in  and  strengthen 
the  whole. 

Violino  secondo.     It,     Second 
violin. 
"Violin   Steg.      Ger.     Bridge   of  a 
violin. 

Violon.  Fr.  VIOLIN;  in  Germany 
the  same  word  is  used  for  the 
DOUBLE-BASS. 

Violoncello.  /*.  "  Little  Violone  " 
or  bass.  The  instrument  referred  to 
throughout  this  book,  and  popularly, 
as  the  'CELLO.  Like  the  violin,  of 
which  it  forms  the  bass,  it  has  four 
strings,  tuned  in  fifths,  of  which  the 
highest  is  d.  In  concerted  music  the 
compass  usually  extends  to  a',  and  in 
the  hands  of  soloists  an  octave  higher, 
so  that  while  the  lower  notes  are 
scored  on  the  bass  clef,  the  upper  notes 
are  placed  on  the  C  or  G  clef.  The 
'cello  was  evolved  from  the  viol  da 
gamba.  It  is  one  of  the  most  im- 
portant of  solo  instruments,  having  an 
indescribably  rich  singing  tone,  capable 
of  every  shade  of  tone  and  expression 
like  the  violin,  and  as  it  affords 
greater  facility  for  rapid  passages  than 
the  double  bass,  such  parts  are  usually 
written  for  it,  while  the  larger  instru- 
ment is  assigned  the  fundamental  bass 
an  octave  below. 

Violone.     /*.     DOUBLEBASS. 

Viotta  (Henri)  directed  the  Royal 
Conservatory  at  The  Hague  from  1896; 
wrote  "  Lexicon  der  Toonkunst,"  1889 ; 
edited  the  "  Maanblad  voor  Muziek  " ; 
founded  and  conducted  Wagner  Soci- 
ety in  Amsterdam;  pupil  Cologne 
Conservatory.  B.  July  16,  1848,  Am- 
sterdam;   add.  Amsterdam. 

Viotti  (Giovanni  Battista)  com- 
posed a  violin  concerto,  No.  22,  in  A 
minor,  still  in  repertoire,  and  in  all 
29  concertos,  51  duets,  21  string  quar- 
tets, and  much  other  chamber  music. 


being  first  to  adapt  the  concerto  to  the 
sonata  form,  with  full  orchestral  ac- 
companiment; was  the  foremost  vio- 
linist of  his  day,  and  the  last  repre- 
sentative of  the  classical  Italian 
school,  and  the  teacher  of  Rode,  Bail- 
lot,  and  others.  Son  of  the  village 
blacksmith  of  Fontanetto,  his  bishop 
discovered  in  him  precocious  musical 
talent,  and  sent  him  to  Turin,  where 
he  had  lessons  of  Pugnani,  played  in 
the  court  orchestra,  and  in  1780  made 
his  first  concert  tour  in  company  with 
his  master.  Declining  the  post  of 
court  violinist  to  Catherine  II  of 
Russia,  he  settled  in  Paris,  but,  dis- 
gusted by  the  success  of  a  rival  of 
inferior  powers  at  the  Concert  Spirit- 
uel,  resolved  to  abandon  public  con- 
certs, although  he  led  the  orchestra 
established  by  the  Princes  de  Conti 
and  de  Sourbise,  and  played  at  court. 
In  1788  he  joined  Leonard,  Marie 
Antoinette's  hair-dresser,  in  founding 
the  Italian  Opera  in  Paris,  but,  hav- 
ing lost  his  fortune  in  the  French 
Revolution,  was  obliged  to  resume  vio- 
lin playing  in  London.  In  1795  he 
managed  the  Italian  Opera  and  Opera 
concerts  in  London,  but,  failing  to 
achieve  a  financial  success,  drifted  into 
the  wine  business.  In  1802  he  played 
at  the  Conservatoire,  Paris,  and  was 
most  cordially  received,  and  in  1819- 
22  he  was  director  of  the  Paris  Opfira, 
but  without  being  able  to  restore  its 
former  prestige.  Granted  a  pension  of 
$1200,  he  returned  to  London,  playing 
and  giving  concerts  at  his  home,  and 
accepting  a  few  pupils,  but -without 
ever  overcoming  his  aversion  to  ap- 
pearing at  public  entertainments.  B. 
May  23,  Piedmont;  d.  Mar.  10,  1824, 
London.  See  biographies  by  Fayolle, 
1810,  Paris,  Baillot,  1825,  Paris. 

Virdung  (Sebastian)  wrote  a  com- 
prehensive description  of  the  musical 
instruments  of  his  day  and  Tablature, 
dedicated  to  the  Prince  Bishop  of 
Strassburg  and  published  at  Basle, 
1511,  which  was  reproduced  in  fac- 
simile, Berlin,  1882;  composed  4-part 
German  songs;  was  priest  and  organ- 
ist. 

Virelay.    Fr.    VAUDEVILLE. 

Virginals.      SPINET,  which  may 


VIBGULA  709  VIVALDI 

have   been   so   named  in   compliment    music  which  ranked  him  second  only 

.°-9^^^  Elizabeth  of  England,  who    to  Palestrina.     A  native  of  Spain,  he 


was  fond  of  playing  it.  The  virginal 
v^as  played  by  means  of  a  keyboard, 
like  the  harpsichord  and  piano,  of 
which  it  was  the  precursor,  but  was 
small  and  box  shaped,  being  placed  on 
a  stand  or  table  for  performance. 
There  was  one  string  to  each  note,  and 
these  were  set  in  action  by  means  of 
quill,  leather,  or  metal  plectra  at- 
tached to  "  jacks."  The  compass  was 
usually  about  three  octaves,  and  the 
tone  very  delicate  and  sweet. 

Virgiia.  L.  Stem  or  tail  of  a  note; 
or  Neumse  used  in  NOTATION. 

Virtuose.     Ger.    VIRTUOSO. 

Virtuoso.  It.  Skilled  performer  on 
the  violin  or  some  other  instrument. 
The  word  was  formerly  synonymous 
with  amateur. 

Visettl  (Alberto  Antonio)  wrote 
"A  History  of  the  Art  of  Singing," 
translations,  etc.;  taught  singing. 
Royal  Academy  of  Music;  played 
piano;  was  concert  pianist  at  Nice, 
and  then  conductor  to  the  Empress 
Eugenie,  settling  in  London  on  the 
fall  of  the  Empire;  pupil  of  Mazzu- 
cato,  Milan  Conservatory.  B.  May  13, 
1846 ;  Spalato,  Dalmatia ;  add.  London. 

Vista.  It.  "Sight,"  as  Prima, 
at  first  sight. 

Vistamente,  Vitamente.  It, 
Briskly,  ra^pidly,  with  life. 

Vitale  (Tomaso)  composed  a  Cha- 
conne  and  five  sets  of  sonatas  for  two 
violins  and  bass;  played  violin  and 
conducted,  at  Bologna  and  Mod^na. 
B.  about  1650,  Bologna. 

Vital!  (Filippo)  composed  and 
sang;  Florence,  17th  century. 

Vitali  (Giovanni  Battista)  com- 
posed sonatas,  ballets,  etc. ;  was  court 
chapelmaster  at  Modena.  B.  about 
1644,  Cremoba;  d.  Oct.  12,  1692, 
Modena. 

Vitry,  de  (Bishop  Philippe)  wrote 
on  theory;  became  Bishop  of  Meaux. 
B.  Vitry,  Pas  de  Calais;  known  also 
as  Philipus  di  Vitriaco;  d.  1360, 
Meaux. 

Vittoria,  da  (Tomaso  Iiudovico) 
composed  an  "  Officium  Defunctorum  " 
for  six  voices  for  the  Empress  Maria, 
Madrid,  1605,  and  much  other  church 


became  chapelmaster  to  the  Collegium 
Germanicum,  Rome,  1573,  and  it  is 
assumed  from  his  style  that  he  must 
have  mastered  the  contrapuntal  lore 
of  the  Netherlanders  at  an  earlier 
period,  and'  to  have  come  under  the 
influence  of  Palestrina,  without,  how- 
ever, actually  having  been  his  pupil. 
From  1575  to  1589  Vittoria  was  choir- 
master at  the  church  of  St.  ApoUinaris 
and  then  became  vice  chapelmaster  of 
the  court  at  Madrid.  During  his  so- 
journ in  Rome  he  was  on  terms  of 
close  intimacy  with  Palestrina,  and  it 
is  probable  that  he  was  raised  to  the 
priesthood  there.  His  compositions 
include:  a  book  of  motets  for  four  to 
eight  voices,  Venice,  1572;  a  "Liber 
primus "  of  Masses,  Psalms,  and  a 
Magnificat,  Venice,  1576;  Magnificats 
and  Antiphons,  1589,  Rome;  a  set  of 
hymns  for  four  voices  and  four  Psalms, 
1581,  Rome,  which  therefore  preceded 
and  may  have  inspired  Palestrina's 
Hymnal;  motets  for  4,  5,  6,  8  and  12 
voices,  Rome,  1583 ;  motets  for  all  the 
feasts  of  the  year,  Rome,  1588;  Nine 
Masses  dedicated  to  Philip  II  of  Spain, 
four  to  six  voices,  Rome,  1583;  Offi- 
cium Hebdomadae  Sanctae,  containing 
the  Improperia,  Lamentations,  and 
Turbae  of  the  Passion,  Rome,  1585; 
a  book  of  Masses  dedicated  to  Cardinal 
Albert,  in  recognition  of  the  composer's 
appointment  as  chaplain  to  the  Im- 
perial court,  Rome,  1592,  and  finally 
the  requiem  for  Empress  Maria  al- 
ready mentioned.  B.  probably  at  Avila, 
about  1540;  known  also  as  Tomas  Luis 
de  Victoria;  d.  probably  at  Madrid 
about  1608. 

Vivace,  Vivacemente.  It.  Lively, 
sprightly,  quickly. 

Vivacetta.    7t.     Rather  lively. 

Vivacezza,  Vivacita.  It.  Vi- 
vacity, liveliness. 

Vivaoissimo.    /*.    Very  lively. 

Vivaldi  (Abbate  Antonio)  com- 
posed sonatas  and  concertos  for  violin, 
on  which  he  was  a  virtuoso;  directed 
the  Pieta,  Conservatorio,  Venice,  from 
1743;  also  composed  28  forgotten 
operas,  cantatas;  pupil  of  his  father, 
a  violinist  at  San  Marco,  Venice,  and 


VIVAMENTE 


no 


VOGLEB 


in  early  life  soloist  to  the  Landgrave 
of  Hesse-Darmstadt.  B.  about  1675; 
d.  1743,  Venice. 

Vivamente.  It.    Lively,  briskly. 

Vive.    Pr.    Brisk,  quick,  lively. 

Vivente.     It.     Animated,  lively. 

Vivezza,  con.  It.  With  life  and 
animation. 

Vivier  (Albert  •Toseph.)  composed 
an  opera  and  wrote  on  harmony;  pupil 
of  Fetis.  B.  Dec.  15,  1816,  Huy, 
Belgium. 

Vivier  (Eugene  IJeon)  played  horn 
at  Paris  Opfira  and  became  favourite 
of  Napoleon  III;  is  said  to  have  dis- 
covered a  method  by  which  triads  could 
be  played  on  the  horn,  simulating  the 
effect  of  a  trio  or  even  a  quartet,  but 
refused  to  divulge  this  secret,  which 
wa/s  not  due  to  special  mechanism  (his 
favourite  horn  is  preserved  in  the  Con- 
servatoire Museum),  composed  songs 
and  was  a  noted  wit;  pupil  of  Gallay. 
B.  1821,  Ajaccio. 

Vleeshouwer,  de  (Albert)  com- 
posed the  symphonic  poem  "  De  wilde 
Jaeger,"  the  operas  "  L'ficole  des 
P6res,"  1892,  and  "  Zryni,"  1895,  Ant- 
werp; pupil  of  Jan  Blockx.  B.  June 
8,  1863,  Antwerp;  add.  Antwerp. 

Vocal.  For  or  by  the  voice ;  music 
for  SINGING;  compositions  so  ar- 
ranged and  written  as  to  be  easy  and 
effective  for  the  voice ;  the  "  singing  " 
quality  of  tone  obtained  from  an 
instrument. 

Vocal  Concerts  were  those  founded 
by  Harrison  in  London,  on  his  retire- 
ment from  the  ANCIENT  CONCERTS, 
and  continued,  1792-1812,  when  he 
died,  and  they  were  merged  with  those 
founded  by  Knyvett  and  Vaughn,  and 
supported  by  subscription  until  1821, 
when  they  ceased. 

Vocale.    It.    Belonging  to  the  voice. 

Vocalezzo.  It.  '  Exercise  for  the 
voice. 

Vocalization.  Control  of  the  voice 
and  vocal  sounds  and  the  method  of 
producing  and  phrasing  notes  with  the 
voice. 

Vocalizzi.    It.    Vocal  exercises. 

Vocal  Score.  SCORE  showing  the 
voice  pafts. 

Vocal    Society    gave    concerts    in 


composers  were  frequently  produced, 
from  1832.  The  first  performance  of 
Spohr's  oratorio  known  in  English  as 
the  "  Crucifixion "  took  place  imder 
this  society's  auspices,  1837.  The  fol- 
lowing year  it  disbanded. 

Voce.  It.  "VOICE,"  as  di  camera, 
a  voice  of  small  quality,  better  suited 
to  a  small  room  than  for  a  large  con- 
cert room,  di  gola,  guttural  or  throaty 
voice,  di  petto,  chest  voice  or  lower 
register  of  the  voice;  di  testa,  head 
voice  or  upper  range  of  the  voice, 
sometimes  the  falsetto  voice  is  also  so 
called;  sola,  voice  unaccompanied. 

Voce  Umana.   /*.  VOX  HUMANA. 

Vogelflote.  Ger.  Whistle  or  flage- 
olet or  bird  call  such  as  was  employed 
by  Mozart  in  the  score  of  the  Zauber- 
flSte. 

Vogelgesang.  (?er.  Musical  in- 
strument composed  of  a  series  of  small 
pipes  standing  in  water,  through  which 
the  wind  had  to  pass ;  literally  "  bird 
song." 

Vogelpfeife.   Ger.  VOGELFLOTE. 

Voght  (Gustav)  played  oboe,  Paris 
Op€ra;  taught,  Paris  Conservatoire, 
where  he  had  been  prize  pupil;  cheva- 
lier of  the  Legion  of  Honor;  composed 
concertos  and  other  oboe  works.  B. 
1781,  Strassburg;  d.  May  30,  1879, 
Paris. 

Vogl  (Heinrich)  sang  ten.-  in  opera, 
debut,  1865,  as  "  Max  "  in  "  Der  Frei- 
schutz,"  Vienna,  and  thereafter  dis- 
tinguishing himself  in  Wagnerian 
rSles,  creating  "  Loge "  at  the  Bay- 
reuth  production  of  the  "RING"; 
composed  the  opera  "  Der  Fremdling," 
Munich,  1899.  B.  1845,  near  Munich; 
d.  April  21,  1900,  Munich,  on  the  stage. 
Therese  Thoma  sang  sop.  in  opera; 
created  "  Sieglinde "  at  the  Munich 
production,  and  later,  the  three 
"  Brunnhildes,"  pupil  th'e  Munich  Con- 
servatory. B.  Nov.  12,  1845,  Tutzing; 
m.  HEINRICH,  1868;  retired,  1892. 

Vogl  (JTohann  IKEicliael)  was  first 
to  sing  in  public  the  "  Erlkonig  "  and 
other  songs  of  his  friend  Schubert; 
was  bar.  in  Vienna,  German,  and  Ital- 
ian operas,  and  in  early  life  a  choris- 
ter. B.  Aug.  10, 1768,  Steyer,  Austria; 
d.  Nov.  19,  1840. 


VOGLER 


711 


VOIGHT 


posed  in  all  forms;  wrote  on  theory; 
was  the  most  celebrated  organist,  and 
one  of  the  best  teachers  and  conduc- 
tors of  his  generation ;  but  by  his  radi- 
cal views  and  assumption  of  superior- 
ity made  many  enemies,  of  whom 
Mozart  was  the  foremost;  was  hon- 
oured by  many  princes,  and  received 
the  titles  of  Apostolic  Prothonotary, 
Chamberlain,  and  knight  of  the  Golden 
Spur  from  the  Pope.  His  father  and 
stepfather  were  violinists,  and  at  10 
Vogler  had  contrived  a,  new  method  of 
fingering  the  organ,  had  mastered  sev- 
eral instruments,  and  while  a  pupil  of 
the  Jesuits  of  Wurzburg,  was  in  great 
demand  as  a  musician.  A  ballet  pro- 
duced at  the  Mannheim  court  theatre 
so  pleased  the  Elector  that  he  provided 
means  for  the  composer  to  study  in 
Italy  with  Padre  Martini,  and  later 
with  Valotti.  In  1773  he  was  ordained 
priest  while  in  Rome,  but  returned  to 
Mannheim  two  years  later  to  become 
court  chaplain  and  second  chapel- 
master.  Occasional  tours  as  virtuoso 
organist  so  enhanced  his  reputation 
that  7000  tickets  were  sold  for  his  re- 
cital at  Amsterdam  in  1785,  the  re- 
ceipts at  a  single  London  concert  were 
nearly  $60,000,  and  in  Paris  he  gave 
the  15,000  livres  of  receipts  at  a  recital 
in  St.  Sulpice  to  the  poor.  For  nine 
years  from  1780  he  was  court  chapel- 
master  at  Stockholm,  and  on  his  de- 
parture received  a  pension  from  the 
Swedish  government,  and  then  settled 
for  a  time  in  Denmark,  where  he  wrote 
his  "  Choral  System,"  which  was  dis- 
tributed by  the  Danish  government  to 
the  organists  of  that  country.  In  1806 
he  produced  his  best  known  opera 
"  Castor  and  Pollux  "  in  Munich,  on 
the  occasion  of  the  marriage  of  Eugene 
Beauharnais  to  Augusta  of  Bavaria. 
In  1807  he  settled  in  Darmstadt,  the 
Grand  Duke  Louis  I  having  given  him 
as  an  inducement  the  titles  of  chapel- 
master  and  privy  counsellor  for  church 
affairs,  the  Order  of  Merit  of  the  first 
class,  a  house,  meals  from  the  ducal 
kitchen  and  3000  fiorins  per  annum. 
In  addition  to  the  activities  indicated, 
Vogler  was  an  adept  at  organ  building, 
and  was  first  to  apply  the  "Trias 
Harmonica,"  or  pedal  organ  quint,  as 


a  substitute  for  the  32-foot  stop,  thus 
avoiding  the  expense  of  large  pipe^, 
and  to  introduce  free  reeds.  As  a 
teacher  he  formed  the  composers 
Meyerbeer  and  Weber,  the  singer 
Mme.  Lange,  and  the  organist  Knecht. 
The  cantata  "  Ino,"  the  melodrama 
"Lampredo,"  and  the  overture  and 
entr'-acts  for  "Hamlet,"  Darmstadt, 
1779;  "Albert  III  von  Baiern,"  Mu- 
nich, 1780;  "La  Kermesse,"  Paris 
Comedie  Italien,  1783,  and  the  comic 
opera  "  Der  Admiral,"  1810,  are  a 
few  of  his  dramatic  works.  Seven 
masses,  psalms,  motets,  hymnsy  much 
chamber  music,  and  many  organ  com- 
positions were  also  highly  popular 
works  during  the  composer's  life.  B. 
June  15,  1749,  Wurzburg;  d.  May  6, 
1814,  Darmstadt. 

Voglia.    It.    Desire,  longing. 

Vogrich  (Kax  William  Carl)  com- 
posed two  symphonies,  a  violin  con- 
certo, two  cantatas,  a  solemn  mass, 
the  oratorio  "  Captivity,"  Metropoli- 
tan Opera  House,  New  York,  1894,  and 
three  grand  operas  to  his  own  books, 
including  "Wanda,"  Florence,  1875, 
debut  as  pianist  at  seven,  then  pupil 
Leipsie  Conservatory,  and  toured 
Europe  and  America,  1870-78,  and 
America  with  Wilhemj;  1882-86  in 
Australia,  then  settled  in  New  York. 
B.  Jan.  24, 1852,  Szeben,  Transylvania; 
add.  New  York. 

Voice.  The  human  voice  has  an 
extreme  range  of  five  octaves  and  three 
notes  beginning  with  the  lowest  note 
of  the  basso,  and  mounting  to  c  "  ", 
which  was  attained  by  such  a  soprano 
as  AGUJARI.  The  average  of  the 
best  voices,  however,  does  not  exceed 
a  compass  of  four  octaves,  and  it  is 
customary  to  classify  these  voices 
under  six  separate  heads:  SOPRANO, 
MEZZO-SOPRANO,  and  CON- 
TRALTO, which  are  female  voices,  or 
those  of  boys  or  castrati ;  and  TENOR, 
BARITONE,  and  BASS,  which  are 
male  voices,  all  noted  in  the  order  of 
their  pitch  from  the  highest  down. 

Voicing.  Regulation  of  the  tone 
and  power  of  an  OEGAN-pipe. 

Voiglit  (Henriette)  was  a  gifted 
amateur  in  music,  and  the  friend  of 
Schumann;    pupil  of   L.   Berger.     B. 


VOIGHT 


712 


VOBZEICHNUNG 


1809;  maiden  name  Kunze;  m.  Carl 
Voight,  who  founded  the  Gewandhaus 
fund  for  the  performance  of  Beetho- 
ven's Ninth  Symphony;  d.  Oct.  15, 
1839. 

Voiglit  (Johann  Georg  Hermann) 
composed  and  played  organ.  B.  1769, 
Osterwieck,  Saxony;  d.  1811. 

Voix.     Fr.    Voice. 

Voix  Celeste.  Fr.  VOX  AN- 
GELICA. 

Volante.  It.  Flying,  applied  to 
the  rapid  execution  of  notes  either 
vocally  or  inatrumentally. 

Volata.  /*.  Division  or  run ;  light 
and  rapid  series  of  notes. 

Volckmar  (Willielm  Valentin) 
composed;  played  organ;  taught; 
wrote  on  music.  B.  1812,  Herafeld, 
Cassel;  d.  1887,  Homburg,  Cassel. 

Volkert  (Franz)  composed  sing- 
spiele,  etc.,  to  the  number  of  more  than 
100;  conducted;  played  organ.  B. 
1767,  Heimersdorf,  Bohemia;  d.  1845, 
Vienna. 

Volkland  (Alfred)  helped  found 
the  Bach  Verein;  conducted  the  Leip- 
sic  Euterpe  Society;  played  piano, 
court  conductor  at  Sondershausen  and 
Dr.  Phil,  of  Basle,  where  he  was  con- 
ductor from  1875;  pupil  Leipsic  Con- 
servatory. B.  April  10,  1847,  Bruns- 
wick; add.  Basle. 

Volkmann  (rriedrioh  Brobert) 
composed  a  'cello  concerto;  two  sym- 
phonies, much  chamber  music;  over- 
tures, including  one  for  "Richard  III," 
two  masses  with  orchestra;  German 
hymns  for  double  male  choir, 
"  Sappho,"  a  dramatic  scene  for  solo 
sop.  and  orchestra;  "An  die  Nacht," 
for  con.  solo  and  orchestra;  piano 
music  in  the  romantic  style;  was  set- 
tled in  Vienna,  1854-58,  and  there- 
after in  Pest,  where  he  taught  theory 
in  the  Conservatory;  son  and  pupil  of 
a  cantor,  then  studied  with  Froebel, 
Anacker,  and  K.  F.  Becker,  Leipsic, 
and  taught  for  a  time  in  Prague.  B. 
April  6,  1815,  Lommatzsch,  Saxony;  d. 
Oct.  30,  1883,  Pest.  See  biography  by 
Vogel,  Leipsic,  1875. 

Volkslied.  Ger.  Popular  song  or 
folk  LIED. 

Voll.  Ger.  Full,  as  gesang,  full 
chorus. 


VoUliardt  (Emil  Beinhardt)  com- 
posed motets  and  songs;  conducted  at 
Zwickau,  where  he  was  cantor,  Marien- 
kirche;  pupil  Leipsic  Conservatory. 
B.  Oct.  16,  1858,  Seifer^dorf,  Saxony; 
add.  Zwickau. 

VoUstimmig.  Ger.  Full  toned,  or 
full  voiced. 

Vollstimmigkeit.  Ger.  Fulness 
of  tone. 

VolontS.  Fr.  Will,  pleasure,  as  a 
volonte,  at  will. 

Volta.  It.  Time  or  turn,  as  ITna, 
once,  due,  twice,  ;(irinia,  first  time, 
secunda,  second  time. 

Volta.  It.  and  Fr.  Old  dance  or 
LAVOLTA. 

Volteggiando.  It.  Crossing  the 
hands  in  piano  playing. 

Volteggiare.  /*.  To  cross  the 
hands. 

Volti.  It.  Turn,  as  subito,  or  the 
abbreviation  v.  s.,  turn  quickly. 

Volume.  Power  and  quality  of  a 
vocal  or  instrumental  tone  or  of  a  com- 
bination of  sounds  or  tones. 

Volumier  (Jean  Baptiste)  com- 
posed ballets;  was  director  of  dance 
music  at  the  court  of  Berlin,  and  from 
1709  chapelmaster  at  Dresden,  where 
he  became  the  friend  of  Bach,  and  ar- 
ranged that  master's  contest  with 
Marchard.  B.  1766,  Spain;  d.  1720, 
Dresden. 

Voluntary.  Organ  solos  between 
parts  of  a  church  service. 

Vorausnahme.  Ger.  Anticipa- 
tion ;  preparation  of  a  discord. 

Vorbereitung.  Ger.  Preparation 
of  discords. 

Vorgeiger,  Ger.  Leader,  or  first 
violin. 

Vorgreifung  or  Vorgriff.  Ger. 
Anticipation. 

Vorhalt.  Ger.  SYNCOPATION 
or  suspension. 

Vorpause.     Ger.    Preliminary  rest. 

Vorschlag.  Ger.  APPOGGIA- 
TURA,  BEAT. 

Vorspiel.  Overture,  prelude,  or  in- 
troductory movement. 

Vorspieler.  Ger.  Principal  per- 
former on  any  instrument,  or  leader. 

Vortanzer.  Ger.  Leader  of  a 
dance. 

Vorzeichnung.      Ger.      SIGN  A- 


VOSS  713 

TURE  used  in  NOTATION  for  time 
and  key. 

Voss  (Charles)  played  piano;  com- 
posed. B.  1815,  Schmarsow,  Pome- 
rania;  d.  1882,  Verona. 

Vowles  (W.  G.)  built  organs  in 
England  in  succession  to  Smith  and 
Monday,  from  1847.  The  business  was 
founded  in  Bristol,  1814. 

Vox.  Voice,  as  humana,  human 
voice;  a  part,  as  tres  voces,  three 
parts;  a  sound;  key;  theme,  as  ante- 
cedent or  subject  of  a  fugue. 

Vox  Angelica.  L.  Organ  stop  of 
two  ranks  of  pipes  having  delicate 
quality  of  tone  and  a  small  scale.  One 
rank  is  tuned  a  little  sharp  in  order  to 
produce  a  wavy  and  tremulous  sound. 
Sometimes  called  Voix  celeste,  unda 
maris,  etc. 

Vox  Humana.  L.  Organ  reed 
stop  composed  of  a  large  reed  and  short 
tube,  intended  to  imitate  the  sounds 
of  the  human  voice,  sometimes  called 
anthropoglossa. 

V.  S.  Abbreviation  for  VOLTI 
SUBITO  and  VIOLINO  SECONDO. 

Vredemann    (Jakob)    taught   and 


composed  at  Leu  warden^  17th  cen- 
tury. 

Vuide.  Fr.  Open,  as  corde,  open 
string  on  the  violin  or  'cello. 

Vuillaume  (Claude)  made  cheap 
violins  in  Mirecourt,  the  Vosges,  and 
taught  the  craft  to  his  four  sons,  who 
became  celebrated  instrument  makers. 
B.  1731 ;  d.  1834.  Jean  Baptiste  made 
3000  instruments  of  the  violin  family, 
the  best  of  which  sold  originally  at 
$60  to  $100,  and  were  worth  double 
those  sums  in  1908;  invented  the  octo- 
basse,  and  a  large  viola  which  he  called 
"  contre-alto,"  a  new  mute  which  he 
called  "  sourdine  instance,"  and  a 
machine  for  making  gut  strings  of  uni- 
form thickness;  made  careful  and  ex- 
pensive researches  into  the  life  of  A. 
Stradivarius,  which  are  embodied  in 
FStis,  his  purpose  being  to  discover  the 
secrets  of  the  Cremona  superiority; 
learned  the  craft  with  his  father 
CLAUDE,  then  spent  some  time  in 
Chanot's  shop,  and  in  1825  began  busi- 
ness for  himself  in  partnership  with 
Lete ;  chevalier  of  the  Legion  of  Honor. 
B.  Oct.  7,  1797,  Mirecourt;  d.  Mar.  19, 


WACHTEB 

1879,  Paris.  Nicholas  continued  the 
business  of  his  father  CLAUDE  at 
Mirecourt.  B.  1800;  d.  1871,  Mire- 
court. Nicholas  rrangois  made 
jstfinged  instruments  of  excellent  qual- 
ity, and  was  given  the  Order  of  Leo- 
pold by  the  King  of  the  Belgians  after 
he  had  exhibited  a  fine  double  quartet 
at  the  Vienna  Exposition,  1873;  pupil 
of  his  father  CLAUDE  and  of  his 
brother,  JEAN  BAPTISTE.  B.  May 
13,  1812,  Mirecourt;  d.  Jan.  14,  1876, 
Brussels.  Claude  Frangois  made  or- 
gans as  well  as  violins;  pupil  of  his 
father  CLAUDE.  B.  1807.  Sebastian 
made  violins,  but  gave  his  atten- 
tion later  to  bow  making;  pupil  of 
his  uncle  JEAN  BAPTISTE.  B. 
1835;  son  of  CLAUDE  FRANCOIS;  d. 
1875. 

Vulpius  (IHelchior)  composed  cho- 
rales and  other  church  music  and  a 
Passion;  was  cailtor  at  Weimar  from 
1600.  B.  about  1560,  Wasungen;  d. 
1616,  Weimar. 


Wach  (K.  Gottfried  Wilhelm) 
played  doublebass.  B.  1755,  Lobau; 
d.  1833,  Leipsic. 

Wachs  (Paul)  composed  piano 
pieces;  played  organ  and  piano;  pupil 
Paris  Conservatoire,  where  he  won  the 
organ  prize,  1872.  B.  Sept.  19,  1851, 
Paris. 

Wacht  am  Bhein  was  composed  by 
many  musicians,  but  the  setting  given 
by  Karl  WILHELM  was  that  which 
attained  the  dignity  of  a  national  song 
during  the  Franco-Prussian  war.  The 
words  were  written  by  Max  Schneck- 
enberger  in  1840. 

Wachtel  (Theodor)  sang  ten.  in 
opera,  and  was  especially  fine  in  such 
rSles  as  "  George  Brown,"  "  Dame 
Blanche,"  and  "Chaolon,"  "Postilion 
de  Longjumeau,"  for  which  latter  r6le 
he  had  special  advantages,  as  he  was 
son  of  a  stableman,  and  in  early  life  a 
cab  driver  for  his  father;  pupil  of 
Mme.  Grandjean.  B.  Hamburg,  1823 
or  1824;  d.  1893,  Frankfort-am-Main. 
Theodor  sang  ten.;  son  and  pupil  of 
THEODOR.    D.  1871. 

Wachter  (Ernst)  sang  bass,  Dres- 
den Opera,   1894,  and  from   1896  at 


WADE 


714 


WAGNER 


Bayreuth  in  such  rSles  as  "  Fasolt." 
B.  May  19,  1872;  Muhlhausen;  add. 
Dresden. 

Wade  (Joseph.  Augustine)  com- 
posed "  Meet  me  by  moonlight  alone  " 
and  other  popular  songs  to  his  own 
words;  played  violin;  conducted  Lon- 
don theatres,  and  did  hack  work  for 
music  houses.  B.  Dublin;  d.  1845, 
London. 

Waelrant  (Hubert)  composed  mad- 
rigals and  motets  once  highly  admired; 
founded  a  singing  school  in  Antwerp, 
where  he  introduced  a  system  of  solmi- 
sation  known  as  bocedisation ;  pub- 
lished music;  sang  in  Notre  Dame; 
may  have  been  a  pupil  of  Willaert  in 
Venice.  B.  Xongerloo,  Brabant,  about 
1517;  d.  1595,  Antwerp. 

Wagenseil  (Georg  Christopb.) 
composed  church  music,  was  long  at- 
tached to  the  court  of  Vienna,  finally 
as  music  master  to  Empress  Maria 
Theresa  and  the  Imperial  family; 
pupil  of  Fux,  Palotta,  and  Woger,  and 
the  accredited  composer  of  the  theme 
of  Handel's  "Harmonious  Blacksmith." 
B.  Jan.  15,  1715,  Vienna;  d.  Mar.  1, 
1777,  Vienna. 

Wagner  (Ernst  Bavid)  composed 
and  wrote  essays  on  music;  was  can- 
tor, organist,  and  music  director.  B. 
1806,  Dramburg,  Pomerania;  d.  1883, 
Berlin. 

Wagner  (Wilhelm  Richard)  com- 
posed the  operas  "  TANNHAUSER," 
"LOHENGRIN,"  "RIENZI,"  "FLIE- 
GENDE  HOLLANDER,"  the  comie 
opera  "  MEISTERSINGER,"  the  "  ac- 
tion" "TRISTAN  UND  ISOLDE," 
the  Tetralogy  of  music-dramas  known 
collectively  as  the  "RING  OP  THE 
NIBELtTNG,"  the  sacred-stage-festi- 
val-play "  PARSIFAL  " ;  was  at  once 
the  most  sensational,  revolutionary, 
and  best  advertised  German  composer 
of  the  19th  century,  and  one  of  the 
greatest.  Son  of  a  clerk  in  the  law 
courts,  who  became  Chief  of  Police  in 
Leipsie  during  the  occupation  of  that 
city  by  the  French  under  Marshal 
Davoust,  Wagner's  family  inclined  to 
the  drama  rather  than  music,  al- 
though Albert,  the  composer's  elder 
brother,  sang  ten.  in  Breslau.  Wag- 
ner was  but  six  months  old  when  his 


father  died.  His  mother  subsequently 
married  Ludwig  Geyer,  actor,  play- 
wright, and  portrait  painter,  with 
whom  the  family  removed  to  Dresden, 
where  G«yer  was  a  member  of  the 
court  theatre.  There  the  boy  attended 
the  Kreuzschule,  received  some  piano 
lessons,  and  heard  "Freischutz,"  which 
deeply  impressed  him.  On  the  death 
of  Geyer,  1821,  at  a  time  when  Wagner 
was  seven  years  old,  the  family  was 
maintained  by  the  "  liebes  Miit- 
terchen,"  as  Wagner  always  aflFec- 
tionately  called  his  mother;  but  in 
1827  his  sister  Rosalie  obtained  an  en- 
gagement at  the  Leipsie  Stadt  theatre, 
and  the  family  returned  to  that  city. 
Wagner  had  already  made  a  German 
version  of  the  12  books  of  the  Odyssey, 
and  had  attempted  a  bombastic  trag- 
edy on  Shakespearian  lines.  But  he 
was  far  from  being  an  "  infant  prod- 
igy "  in  music.  At  no  time  in  his  life 
was  he  able  to  play  his  own  scores  at 
the  piano ;  he  never  acquired  the  mas- 
tery of  a,ny  instrument  of  music,  and 
his  best  friends  considered  his  singing 
atrocious.  In  his  16th  year  he  at- 
tended a  Gewandhaus  performance, 
and  on  hearing  Beethoven's  "  Eg- 
mont "  overture,  determined  to  become 
a  musician.  For  a  week  he  studied 
a  borrowed  copy  of  Logier's  book  on 
theory,  the  difficulties  of  which  only 
stimulated  him  to  further  endeavours. 
His  first  attempts  at  composition  were 
string  quartets.  On  the  strength  of 
these  he  obtained  permisssion  to  re- 
ceive instruction  from  the  organist, 
Gottlieb  Miiller,  while  a  student  in  the 
University.  As  a  piano  pupil,  Wagner 
had  preferred  to  attempt  overtures 
rather- than  thump  away  at  five  finger 
exercises,  and  as  a  student  of  theory 
he  wanted  to  compose  in  the  larger 
forms  instead  of  copying  exercises. 
Fortunately,  he  soon  came  under  the 
tutelage  of  Theodor  Weinlig,  cantor 
of  the  Thomasschule,  who  gave  him  a 
thorough  training  in  counterpoint. 
Then  his  piano  sonata  was  published 
by  Breitkopf  and  Hartel,  and  he  com- 
posed a  fantasia  for  piano  (F  sharp 
minor),  a,  polonais,  and  a  concert 
overture  with  fugue  which  had  the 
honour  of  performance  at  the  Gewand- 


WAGNER  715  WAGNER 

haus,    1832.     The  following  year  hia    weather  was  so  bad  that  the  Wagners 

symphony  in  C  was  played  at  the  Ge-    were  very  ill,  but  this  acquaintance 

A  second  symphony  was    with  the  sea  inspired  "Tristan  und 


wandhaus.  _ 

begun,  1834,  but  never  completed.  So 
much  for  Wagner's  musical  begin- 
nings, ffia  first  opera,  "The  Wed- 
ding" ("Die  Hochzeit"),  was  com- 
posed to  his  own  book,  1832.  By  advice 
of  his  sister  Rosalie,  who  considered  it 
immoral,  he  destroyed  the  text,  with- 
out having  completed  the  score.  A 
second  opera,  "Die  Feen,"  or  "The 
Fairies,"  though  accepted  by  the  Leip- 
sic  Opera,  was  not  performed  until 
five  years  after  the  composer's  death. 
He  based  his  libretto  on  a  tale  by 
Gozzi,  and  imitated  the  music  of 
Marschner  and  Weber.  In  1834 
Wagner  became  director  of  the  Madge- 
burg  opera,  and  while  there  wrote 
and  composed  "Das  Liesverbot,"  based 
on  "Measure  for  Measure."  This  he 
attempted  to  produce  at  his  own  bene- 
fit. The  company  was  bankrupt,  how- 
ever, the  artists  quarreled  among 
themselves  and,  after  a  wretched  bun- 
gle, the  work  was  retired.  At  the  age 
of  23,  or,  to  be  exact,  Nov.  24,  1836, 
Wagner  married  Minna  Planer,  a 
pretty  actress  of  Madgeburg,  with 
whom  he  lived  25  years,  separating 
from  her  four  years  before  her  death, 
which  occurred  in  1866.  In  Jan., 
1837,  Wagner  became  director  of  the 
Konigsberg  theatre.  Here  he  was 
again  thrown  out  of  employment  by 
the  bankruptcy  of  the  company,  and 
in  the  fall,  became  director  at  Riga, 
Russia,  where  his  wife  obtained  em- 
ployment as  an  actress.  In  Riga  he  at- 
tempted but  did  not  complete  a  comic 
opera  based  on  the  Arabian  Nights, 
entitled  "The  Happy  Bear  Family," 
and,  more  important  than  this« 
sketched  out  his  plot  for  "Rienzi." 
Wagner  had  left  many  creditors  in 
Konigsberg.  He  became  deeply  in- 
volved in  debt  at  Riga.  In  1839  he 
managed  to  escape  his  creditors,  was 
smuggled  across  the  Russian  frontier 
by  his  friends,  rejoined  his  wife,  who 
had  preceded  him  in  disguise,  and  set 
sail  for  London  in  a  small  vessel  from 
Pillau,  meaning  to  make  his  fortame 
in  Paris  as  a  composer.  The  voyage 
lasted    nearly    a    month,    and    the 


Isolde."  From  London  the  Wagners 
went  to  Boulogne,  where  Meyerbeer 
was  then  spending  the  summer,  and 
after  obtaining  letters  of  introduc- 
tion to  Paris  managers  and  publishers 
from  this  composer  (whom  he  after- 
wards shamefully  abused),  Wagner 
proceeded  to  Paris.  Disappointed  in 
the  hope  of  winning  recognition  from 
the  Parisians,  Wagner  was  compelled 
to  support  himself  by  arranging  dance 
music,  writing  songs,  novelettes,  arti- 
cles, etc.,  and  was  so  desperately  poor 
that  he  sought  employment  in  the 
chorus  of  a  cheap  Boulevard  theatre, 
but  was  rejected  on  the  ground  that 
he  couldn't  sing  well  enough.  But 
the  period  of  obscurity,  which  was 
less  endurable  to  Wagner  than  pov- 
erty, was  soon  to  end.  In  1842 
"Rienzi"  was  performed  in  the  new 
Dresden  Opera  House.  He  had  been 
obliged  to  secure  Meyerbeer's  influence 
to  insure  its  production,  but  its^  suc- 
cess was  80  great  that  within  ten 
weeks  he  had  the  pleasure  of  seeing 
"The  Flying  Dutchman"  put  on. 
Thereafter,  Wagner  was  a  man  to  be 
reckoned  with.  Torrents  of  abuse  and 
extravagant  praise  henceforth  greeted 
each  new  work.  He  could  be  no  longer 
ignored,  and  his  appointment  soon  fol- 
lowed as  chapelmaster  of  the  Dresden 
Opera  at  $1125  per  annum.  There 
he  remained  for  six  years  from  1843. 
The  Biblical  scene  for  three  choirs  of 
male  voices,  "  Das  Liebesmahl  der 
Apostel"  (The  Lovefeast  of  the  Apos- 
tles), was  composed  during  this 
period  for  the  Dresden  Liedertafel,  of 
which  he  was  conductor,  and  in  1845 
his  "  Tannhauser "  was  produced. 
Lohengrin  was  completed  next,  and 
"  Meistersinger  "  sketched  out,  but  in 
1849  he  became  involved  in  a  revolu- 
tionary movement,  took  part  in  an 
actual  insurrection  in  Dresden,  and 
was  obliged,  on  the  suppression  of 
disorder,  to  escape  from  the  country. 
Whether  he  really  aided  in  building 
a  barricade,  or  waved  a  red  flag  to 
rally  the  rioters,  or  burned  down  the 
opera  house,  is  not  known,  and  will 


WAONEB, 


'J'16 


WAGNER 


not  be  Tintil  Wagner's  long  autobiog- 
raphy is  published.  At  any  rate  a 
general  alarm  was  sent  out  by  the 
police  of  Dresden,  May  16,  1849,  di- 
recting that  "Royal  Chapelmaster 
Richard  Wagner"  be  arrested  on 
sight.  By  this  time  Wagner  was  safe 
with  Liszt  in  Weimar,  and  that  de- 
voted friend,  having  heard  he  was 
about  to  be  arrested  there,  provided 
him  with  the  means  of  reaching 
Zurich.  For  the  next  six  years  Wag- 
ner composed  nothing.  The  chief, 
most  powerful,  and  most  generous  of 
his  friends  was  Liszt.  In  enemies 
he  was  rich,  and  he  hit  them  often 
and  hard  in  the  essays  and  books  with 
which  he  was  beginning  the  propa- 
ganda of  his  art  theories.  These  were, 
to  give  the  English  titles:  "Art  and 
Revolution,"  1849;  "Art  and  Cli- 
mate," "Art  Work  of  the  Future," 
1850;  "Opera  and  Drama,"  1851; 
"Judaism  in  Music,"  1852;  and  a 
"  Communication  to  my  Friends,"  in 
which  he  sets  forth  certain  autobio- 
graphical facts,  and  first  records  his 
plans  for  the  Nibelung  Festival. 
After  three  years  of  exile  the  Te- 
tralogy, or,  as  it  was  first  designed. 
Trilogy  of  the  Ring,  began  to  take 
shape.  Although  composed  in  the  or- 
der in  which  they  are  performed,  the 
book  of  "Die  GStterdammerung," 
which  he  meant  to  call  "  Siegfried's 
Death,"  was  written  first,  then  "  Sieg- 
fried," which  he  spoke  of  as  "  Young 
Siegfried,"  then  "Die  WalkUre,"  and 
finally  "Das  Rheingold."  It  is  to 
be  observed  that  in  treating  the  Nibe- 
lung myth,  Wagner  allowed  himself 
the  utmost  license.  He  followed  the 
dictates  of  his  own  dramatic  instinct 
rather  than  the'  "  Nibelungenlied  "  or 
the  older  Sagas,  and  the  pictures  he 
presents  of  the  Norse  or  Teuton  my- 
thology are  not  more  faithful  to  the 
religious  conceptions  of  his  remote 
ancestors  than  was  "  Parsifal,"  with 
its  jumble  of  Christian  mysticism  to 
the  religion  of  his  contemporaries. 
Music  to  "  Das  Rheingold  "  was  com- 
pleted, 1854,  and  he  began  work  on 
"  Die  Walkure,"  on  which  he  was  occu- 
pied until  1856,  his  labours  being  in- 
terrupted by  an  engagement  in  London 


as  conductor  of  eight  Philharmonic 
concerts  in  1855.  Returning  again  to 
Zurich,  he  wrote  and  composed  "  Tris- 
tan und  Isolde,"  gave  concerts,  and 
conducted  in  Zurich,  and  arranged  for 
the  Paris  production  of  "Tannhauser," 
ordered  by  Napoleon  III.  The  Paris 
production  was  a  failure,  because  he 
declined  to  compose  a  ballet  for  the 
occasion,  but  the  fact  that  he  should 
have  been  accorded  such  an  honour 
(due  the  influence  of  Princess  Pauline 
von  Mettemich,  wife  of  the  Austrian 
ambassador  to  France),  was  largely 
responsible  for  the  revocation  of  his 
exile,  except  as  regarded  Saxony. 
Wagner  then  visited  Vienna,  where 
he  heard  his  opera  "  Lohengrin  "  for 
the  first  time,  and  had  "  Tristan " 
placed  in  rehearsal.  A  few  months 
later,  while  in  Moscow,  he  was  in- 
formed that  the  Vienna  Opera  had 
been  obliged  to  abandon  this  work, 
after  57  rehearsals,  because  it  was 
unsingable!  Concluding  his  Russian 
concerts,  Wagner,  now  separated  from 
his  wife,  returned  to  Switzerland  and 
settled  in  the  home  of  his  friends  the 
Wllles  at  Mariafeld,  to  begin  work  on 
"  Meistersinger."  Having  given  a  true 
and  noble  picture  of  the  Minnesingers 
in  "Tannhauser,"  it  was  the  com- 
poser's wish  to  paint  with  equal  fidel- 
ity the  Song  Guilds  of  a  later  age, — 
to  disprove  at  the  same  time  the 
notion  of  German  critics  that  he  could 
not  write  melody,  and  to  amuse  him- 
self by  poking  fun  at  the  pedants. 
Creditors  in  Vienna,  where  Wagner 
had  accumulated  a  large  indebtedness, 
threatened  to  descend  on  him  in  Switz- 
erland, so  he  hastily  retired  to  Stutt- 
gart. Financial  troubles,  however, 
were  soon  to  become  a  thing  of  the  past. 
King  Ludwig  of  Bavaria,  who  had  just 
ascended  the  throne  of  his  fathers,  had 
read  the  preface  to  Wagner's  "Nibe- 
lung Ring"  (the  text  of  the  Tetral- 
ogy), and  sent  a  messenger  to  Stutt- 
gart in  search  of  him.  In  Munich  the 
monarch  informed  Wagner  that  he 
was  determined  to  aid  him  in  his  plans 
for  the  reformation  of  opera,  and  di- 
rected him  to  begin  work  on  the  Ring 
of  the  Nibelung,  which  should  be  pro- 
duced at  the  court  opera  as  soon  as 


WAGNEK 


717 


WAGNER 


completed.  The  politicians  and  musi- 
cians were  equally  incensed  at  the 
favour  shown  Wagner  and  a  popular 
demonstration  was  organized  against 
him,  the  upshot  of  which  was  that  the 
King  requested  Wagner  to  withdraw 
from    court,    although    remaining    as 


kure,"  June  24, 1870,  but  without  Wag- 
ner's supervision.  Although  a  notable 
success,  the  festival  left  a  deficit  of 
$37,500,  part  of  which  was  paid  oflf  by 
a  London  concert,  the  rest  gradually, 
by  royalties  on  performances  of  the 
Ring  now  permitted  elsewhere.  Wag- 


much  his  devoted  friend  as  ever,  and   ner  next  set  to  work  on  "Parsifal," 


allowing  him  a  pension  of  nearly 
$4000  per  annum.  The  composer 
then  settled  at  Triebschen,  Lake  Lu- 
cerne. His  home  was  luxuriously  ap- 
pointed, he  wore  eccentric  costumes  of 
costly  silken  fabrics,  and  installed  as 
his  chatelaine  Frau  Cosima  von  Billow, 
daiighter  of  Liszt  by  the  Countess 
d'Agoult,  and  wife  of  Hans  von  Billow. 
Both  were  eventually  freed  of  former 
ties  by  divorce,  and  in  1870  they  were 
married.  Meantime  amid  these  pleas- 
ant surroundings  he  had  completed 
"  Meistersinger,"  "  Rheingold,"  "  Wal- 
kfire,"  and  "Siegfried."  King  Lud- 
wig  dared  not  build  the  theatre  for 
which  Wagner  was  hoping,  but  there 
were  Wagner  societies  in  many  parts 
of  the  world,  the  composer  was  re- 
ceiving propositions  to  take  up  his  res- 
idence in  London  and  Chicago,  and 
the  great  and  increasing  interest  made 
it  evident  that  the  ideal  theatre  was 
to  be  soon  realized.  Finally,  Wagner 
hit  upon  BAYEEUTH,  the  former 
seat  of  Bavarian  royalty,  the  geo- 
graphical centre  of  Germany,  and  a 
quaint  old  place  of  20,000  inhabitants 
as  the  best  site  for  his  new  theatre. 
The  municipality  not  only  gave  him 
the  land  on  which  to  erect  the  Fest- 
spielhaus,  but  likewise  the  land  for 
his  home,  since  celebrated  as  Villa 
Wahnftied.  Although  his  plan  for 
raising  funds  was  denounced  by  the 
German  press  as  a  "  swindling  stock- 
jobbing scheme,"  money  was  coming 
in,  and  in  1872  the  foundations  of  the 
Festspielhaus  were  laid.  Concerts  in 
aid  of  the  building  fund  were  given  in 
various  parts  of  the  world;  King  Lud- 
wig,  at  a  critical  moment,  donated 
$50,000,  and  in  Aug.  1876  the  "  Ring 
of  the  Nibelung  "  was  given  a  festival 
production  in  complete  form.  Some 
of  the  music  dramas  had  already  been 
performed  to  gratify  King  Ludwig, 
"Rheingold,"   Aug.   25,    1869,   "  w.i. 


'Wal- 


which  was  completed  and  produced  at 
Bayreuth,  1882.  Then  the  composer, 
in  a  vain  effort  to  recover  his  health, 
settled  for  a  time  in  Venice.  Besides 
the  works  mentioned,  Wagner  com- 
posed the  overtures  "  Polonia,"  "  Co- 
lumbus," "Rule  Britania,"  a  "New 
Year's  Cantata,"  incidental  music  to 
"  Der  Burggeist,"  "  Huldigunsmarch  " 
(completed  by  Rafif) ;  "Siegfried 
Idyll "  in  honour  of  his  son's  first 
birthday,  1870,  "  Kaisermarsch,"  1870, 
"Festival  March"  for  the  Philadel- 
phia Exposition,  1876 ;  "  Gelegen- 
heits  Cantata  "  for  unveiling  a  monu- 
ment to  King  Friedrich,  1843 ;  "  Gruss 
an  den  KSnig,"  1843,  "An  Weber's 
Grabe,"  double  quartette  and  funeral 
march  for  Weber,  1844;  songs,  the 
musical  burlesque  "A  Capitulation," 
which  had  the  effect  of  enraging  the 
French  people  against  the  composer, 
although  it  was  directed  more  against 
the  Germans.  During  the  last  six 
years  of  his  life  most  of  his  literary 
work  appeared  in  the  organ  of  the 
Wagner  societies,  "  Bayreuther  Blat- 
ter." Among  these  essays  may  be  noted : 
"What  is  Germaji?",  "Religion  and 
Art,"  "Modern  Public  and  Popular- 
ity," "  The  Public  in  Time  and  Space," 
"  A  Retrospect  of  the  Stage  Play  Fes- 
tival of  1876,"  "The  Stage  Consecra- 
tion Play  in  Bayreuth,  1882,"  "An 
Account  of  the'  Performance  of  a 
Youthful  Work,"  "On  Composing 
Poetry  and  Music,"  "  On  the  Compos- 
ing of  Operatic  Poetry  and  Music  in 
Particular,"  "  On  the  Application  of 
Music  to  the  Drama."  Mention  should 
also  be  made  of  his  admirable  book  on 
conducting.  B.  May  22,  1813,  Leip- 
sic;  d.  of  erysipelas,  Venice,  Feb.  13, 
1883.  See  his  letters  to  Liszt,  Uhlig, 
Fischer,  Heine,  etc.;  biographies  by 
Dannreuther,  H.  T.  Fink,  G.  Kobbe, 
Pohl,  Tappert,  Jullien,  Glasenapp,  and 
Ellis.    Cosima  assumed  charge  of  the 


WAHTWRIGHT 


718 


WALKELEY 


Bayreuth  Festivals  on  the  death  of 
RICHAED  WAGNER,  displaying  an 
extraordinary  aptitude  for  business 
affairs.  B.  about  1838;,  m.  Hans  von 
BULOW,  1857;  divorced,  and  m. 
RICHARD,  1870.  Siegfried  com- 
posed the  operas  "  Der  Barenhauter," 
1899;  "Herzog  Wildfang,"  1901; 
"Der  Kobold,"  1904,  etc.,  the  sym- 
phonic poem  "  Sehnsucht " ;  conducted 
Bayreuth  Festivals,  and  with  success 
in  England  and  elsewhere.  In  early 
life  he  prepared  for  the  profession  of 
architect  at  a  polytechnic  school,  but 
in  his  21st  year  took  up  the  study  of 
music  with  Kniese  and  Humperdinck, 
and  made  his  debut  as  a  conductor, 
Aug.  5,  1893.  B.  June  6,  1869;  only 
son  of  RICHARD  and  COSIMA;  add. 
Bayreuth,  Bavaria.  Johanna  sang 
sop.  in  opera,  created  ELIZABETH  in 
TANNHAUSER  and  appeared  with 
success  in  other  operas  by  her  uncle 
RICHARD.  B.  Oct.  13,  1828,  near 
Hanover;  m.  Judge  Jachmann;  d. 
Oct.  16,  1894,  Wurzberg. 

Wainwright  (John)  composed 
church  music;  sang  and  played  organ 
in  what  is  now  Manchester  Cathedral. 
D.  1768.  Dr.  Robert  composed 
the  oratorio  "  The  Fall  of  Egypt "  and 
church  music;  succeeded  his  father 
JOHN,  as  organist  in  Manchester.  B. 
1748;  d.  July  15,  1782.  Richard 
played  organ  at  St.  Peter's,  Liverpool, 
where  his  brother  ROBERT  had  pre- 
ceded him.  B.  1758;  d.  Aug.  25,  1825. 
William  played  doublebass,  sang, 
sold  music  in  Manchester.  Son  and 
pupil  of  JOHN.    D.  1797. 

Waits  were  at  once  the  watchmen 
and  town  musicians,  possibly  so  called 
because  it  was  their  'duty  to  "  wait " 
or  attend  on  the  magistrates  and  other 
officials  on  ceremonial  occasions,  who 
seem  to  have  been  employed  in  England 
until  the  accession  of  the  House  of 
Stuart,  corresponding  to  the  Zinken- 
isten  of  Germany,  and  like  them,  play- 
ing coarse  reed  instruments.  Then  the 
name  was  transferred  to  the  country 
musicians  who  sang  carols  and  gave 
serenades  during  the  Christmas  holi- 
days._  The  name  was  also  applied  to  a 
primitive  kind  of  oboe,  and  to  a  Pa-la 
for  four  voices  composed  by  Jeremy 


Savile  during  the  reign  of  Charles  II, 
and  still  sung  by  madrigal  societies. 

Waloker  (Eberhard  Ludwig)  built 
organs,  having  learned  the  craft  from 
his  father,  and  trained  his  five  sons  in 
the  business.  B.  1794,  Cannstadt;  d. 
1872,  Ludwigsburg.  Heinrich,  Eried- 
rich,  Karl,  Paul,  and  Eberhard  con- 
tinued the  organ  building  business  es- 
tablished by  their  father. 

Waldersee,  von  (Count  Paul)  as- 
sisted in  editing  works  of  Beethoven 
and  Mozart;  was  Prussian  army  offi- 
cer, 1848-71.  B.  Sept.  3,  1831, 
Potsdam. 

Waldflute,  Waldflote,  Waldfeife. 
Ger.  Forest  flute;  ORGAN  stop  of 
4-ft.  pitch  consisting  of  open  wood 
pipes.  Waldquinte  or  Waldfloten- 
quinte  is  a  similar  stop  one-fifth 
higher  in  pitch. 

Waldhorn.  Ger.  Hunting  horn  or 
French  horn. 

Waldmadchen,  C.  M.  von  Weber's 
two-act  opera,  to  book  by  Steinburg, 
was  first  performed  Nov.  24,  1800,  at 
Freiburg,  and  afterwards  remodelled 
as  "  Silvana  das  Waldmadchen,  1810. 
A  new  revision  with  interpolated  music 
was  given  in  1885  in  Liibeck  and 
Hamburg. 

Waldstein,  von  (Count  Ferdi- 
nand Ernst  Gabriel)  was  a  noted 
amateur  and  patron  of  music  to  whom 
Beethoven  dedicated  his  piano  sonata 
in  C,  Op.  53.  A  novice  of  the  Deutcher 
Orden,  he  became  acquainted  with  the 
great  composer  while  in  attendance  at 
the  Electoral  Court  at  Bonn.  Later  he 
obtained  a  dispensation  from  his  vows 
and  married,  but  left  no  heirs,  and 
with  him  the  family  became  extinct. 
B.  Mar.  24,  1762;    d.  Aug.  29,  1823. 

Waldteufel  (Emil)  composed 
waltzes,  polkas,  mazourkas,  etc.,  many 
of  which  became  highly  popular  in  all 
parts  of  the  world  —  more  than  225 
from  the  year  1878. 

Waley  (Simon)  composed  services 
for  the  Synagogue,  songs  and  piano 
music;  pupil  of  his  sister,  then  of 
Moscheles,  Beimett,  Osborne,  Horsley, 
and  Molique.  B.  1827,  London;  d. 
1875. 

Walkeley  (Anthony)  composed  a 
service  in  B  flat;  played  organ  Salis- 


WALEEB 


719 


WALLY 


bury  Cathedral;  in  boyhood  chorister, 
and  later  lay  vicar  at  Wells.  B.  1672: 
d.  1718.  ' 

Walker  (Edith)  sang  con.  in  opera ; 
debut  at  Vienna  Hofoper,  where  she 
was  first  contralto  for  several  years, 
then  at  the  Metropolitan,  New  York, 
and  Covent  Garden,  London,  and  ap- 
pearing at  leading  concerts,  possessed 
large  repertoire,  and  was  especially 
known  as  interpreter  of  Wagnerian 
rdles;  pupil  of  Orgeni,  Dresden  Con- 
servatory. B.  Long  Island;  add.  New 
York. 

Walker  (Frederick  Edward) 
taught  vocal.  Royal  Academy  of  Music, 
London,  from  1883;  conducted  Brixton 
Philharmonic  Society;  sang  ten.,  and 
was  boy  chorister,  Eng.  Chapel  Eoyal. 
B.  Jan.  17,  1835,  London. 

Walker  (Joseph)  founded  the  or- 
gan building  house  in  London,  1819, 
which  was  continued  by  his  sons  as 
Joseph  Walker  &  Sons. 

Walkiire.  The  second  music  drama 
in  Richard  Wagner's  Tetralogy  the 
"  RING  DES  NIBEtiUNG." 

Wallace,  Iiady  (Grace  Stein)  made 
Eng.  trans,  of  the  Mozart,  Mendelssohn 
and  Beethoven  letters,  Longman  &  Co., 
London.  B.  Edinburgh;  daughter  of 
John  Stein;  m.  Sir  James  Maxwell 
Wallace,  1836;  d.  1878. 

Wallace  (Wllliain  Vincent)  com- 
posed the  successful  operas  "  MARI- 
TANA,"  Drury  Lane,  London,  Nov.  15, 
1845;  "Matilda  of  Hungary,"  1847; 
"  Lurline,"  Covent  Garden,  London, 
Feb.  20,  1860;  "The  Amber  Witch," 
Feb.  28,  1861,  Her  Majesty's,  London; 
"  Love's  Triumph,"  Nov.  16,  1862,  Co- 
vent Garden;  "The  Desert  Flower," 
Oct.  12,  1863,  Covent  Garden,  the  un- 
published "Maid  of  Zurich,"  and  the 
unfinished  opera  "  Estrella."  No  com- 
poser of  modern  times  enjoyed  so 
varied  and  picturesque  career  as  Wal- 
lace. Son  and  pupil  of  an  Irish  band- 
master, he  often  led  the  orchestra  in 
the  Dublin  Theatre  in  boyhood,  and 
after  hearing  Paganini,  1831,  gave  his 
whole  time  to  perfecting  his  technique 
on  the  violin.  He  played  his  own  con- 
certo at  a  Dublin  concert  in  1834,  but 
tiring  of  the  Irish  capital,  left  for 
London,  accompanied  by  his  wife,  bom 


Kelly,  and  her  sister.  Mrs.  Wallace 
charged  him  with  making  love  to  the 
sister,  and  promptly  left  him,  and  the 
young  musician  then  immigrated  to 
Australia.  100  sheep  from  Governor 
Sir  John  Burke  wbre  part  payment  for 
a  concert  given  in  Sydney.  Then  he 
wandered  into  New  Zealand,  where  he 
was  rescued  from  death  by  the  daugh- 
ter of  a  native  chief,  and  embarked  on 
a  whaler.  He  narrowly  escaped  death 
in  a  mutiny,  and  next  appeared  in 
India,  where  he  won  the  admiration  of 
the  Begum  of  Oude.  Tours  of  Latin 
America  then  occupied  him  until  1845, 
when  he  reached  London,  met  Pitzball, 
Balfe's  old  librettist,  and  produced 
"  Mar i tana."  The  next  14  years 
were  spent  in  Gtermany,  and  he  com- 
posed chiefly  piano  music.  His  eye- 
sight failing,  just  as  he  had  been  com- 
missioned to  compose  an  opera  for 
Paris,  he  made  a  concert  tour  of  North 
and  South  America,  and  then  settled 
in  New  York,  where  he  lost  all  his 
fortune  in  the  failure  of  a  piano  fac- 
tory. Then  he  resumed  his  career  as 
a  composer  in  London.  His  second 
wife  was  the  pianist  Helene  Stopel, 
who  survived  him.  B.  June  1,  1814, 
Waterford,  Ireland;  d.  Oct.  12,  1865, 
Chateau  de  Bages,  Haute  Garoime, 
France. 

Wallaschek  (Bichard)  wrote  "  Aes- 
thetik  der  Tonkunst,"  1886;  lectured 
at  Lemburg  University. 

Wallersteiu  (Anton)  composed 
popular  dance  music,  "Das  Trauer- 
haus,"  "  Sehnsucht  in  die  Feme,"  and 
other  popular  songs;  played  violin. 
B.  Sept.  28,  1813,  Dresden;  d.  1892, 
Geneva. 

Wally.  Alfredo  Catalani's  four-act 
opera,  to  book  by  Luigi  Illica,  based 
on  von  Hillern's  novel,  was  first  per- 
formed in  Turin,  1892,  where  it  failed, 
Ijut  was  revived  with  success  in  Buenos 
Ayres,  1904.  The  scene  is  laid  in  the 
Tyrol  in  the  early  part  of  the  19th 
century,  and  the  first  act  represents 
the  mountain  scenery  about  the  cabin 
of  Stromminger,  a  hunter  of  the  vil- 
lage of  Hoohstoff.  Friends  gather  to 
celebrate  the  hunter's  70th  birthday, 
and  among  them  is  Gellner,  a  noted 
marksman,  who  loves  Wally,  Strom- 


WALKISLEY 


720 


WALTER 


minger's  daughter.  Hagenbach,  a 
sharpshooter  from  the  village  of  Sol- 
den,  conies  in,  and  his  boastings  so 
irritate  old  Strommiriger  that  a  quar- 
rel results,  and  Hagenbach  strikes  the 
old  man,  knocking  him  down.  Gellner 
tells  Stromminger  that  Wally  loves 
Hagenbach,  which  arouses  the  old  man 
to  a  fury.  He  promises  Wally  to  Gell- 
ner, and  when  the  girl  refuses  her  con- 
sent, drives  her  from  home.  The  next 
act  takes  place  in  Solden.  Wally  has 
inherited  her  father's  fortune,  and  has 
many  suitors,  but  declines  them  all. 
Gellner  and  Hagenbach  enter,  and 
Hagenbach  begins  a  flirtation  with 
Afra,  landlady  of  the  inn.  Wally  in- 
sults Afra,  Hagenbach,  to  avenge 
his  sweetheart,  undertakes  to  make 
Wally  kiss  him.  The  Dance  of  the 
Kiss  follows,  at  the  end  of  which 
Wally  kisses  Hagenbach.  From  the 
laughter  of  the  spectators,  Wally 
learns  that  Hagenbach  has  been  mak- 
ing sport  of  her,  and  turning  to  Gell- 
ner, who  still  loves  her,  she  demands 
that  he  kill  Hagenbach.  The  third  act 
represents  Wally's  room  on  the  one 
side,  and  the  village  street  of  Hoch- 
stofif  on  the  .other.  As  Hagenbach 
comes  along  the  street,  Gellner  springs 
from  a  hiding  place,  and  forces  his 
rival  over  a  precipice.  Hagenbach 
calls  for  help,  and  Wally,  seized  with 
remorse,  saves  his  life  at  great  peril 
to  her  own.  The  fourth  act  represents 
the  interior  of  a  mountain  hut.  Ha- 
genbach comes  there  to  declare  his  love 
for  Wally,  and  both  are  so  interested 
that  they  do  not  realize  that  a  storm 
has  arisen,  which  hides  from  view 
the  path  by  which  they  might  have 
descended. 

Waliaisley  (Thomas  Forbes)  com- 
posed glees  and  played  organ  in  Lon- 
don churches;  pupil  of  Attwood.  B. 
1783,  London;  d.  July  23,  1866. 
Thomas  Attwood  composed  a  service 
in  B  flat,  anthems,  odes;  played  organ; 
was  Dr.  Mus.  and  professor  Cambridge 
University.  B.  Jan.  21,  1814,  London; 
son  and  pupil  of  THOMAS  FORBES; 
d.  Jan.  17,  1856,  Hastings. 

Walnlka  or  Walyuka.  Buss.  Spe- 
cies of  bagpipe  used  by  the  Russian 
peasants. 


Walond  (William)  composed  the 
first  setting  of  Pope's  "  Ode  on  St.  Ce- 
cilia's Day  " ;  played  organ,  Oxford. 
William  played  organ  Chichester  Ca- 
thedral, 1775-1801.  Probably  son  of 
WILLIAM;  d.  1836. 

Walsegg,  von  (Count  Franz)  or- 
dered the  Mozart  Requiem  which  was 
completed  by  Sussmayer  after  the  mas- 
ter's death,  and  had  it  performed  as 
his  own ;  was  an  amateur  whose  vanity 
caused  him  to  assume  the  credit  of 
many  other  works  in  the  same  way. 

Walsh  (John)  published  music  in 
London  from  1690,  issuing  12  Corelli 
sonatas,  1700;  was  instrument  maker 
to  the  English  court.  D.  Mar.  13, 1736. 
John  continued  the  business  estab- 
lished by  his  father,  JOHN,  30  years. 
D.  Jan.  16,  1766.  The  business  then 
passed  successively  through  the  hands 
of  William  Randall,  Henry  Wright, 
Wright  &  Wilkinson,  and  finally  to 
Robert  Birchall. 

Walter  (Benno)  played  violin,  Mu- 
nich court  orchestra;  pupil  Munich 
Conservatory.  B.  June  17,  1847;  d. 
Oct.  23,  1901. 

Walter  (George  William)  played 
organ  in  Washington  churches;  col- 
lected notable  musical  library;  son  and 
pupil  of  WILLIAM  HENRY,  and  later 
of  J.  K.  Paine,  Boston,  and  S.  P.-  War- 
ren, New  York;  Dr.  Mus.,  Columbia 
University,  1882.  B.  Dec.  16,  1851, 
New  York.  William  Henry  com- 
posed Masses  in  C  and  F,  anthems  and 
services  for  the  Protestant  Episcopal 
Church;  played  organ  in  Newark, 
N.  J.,  churches,  and  at  17,  Church  of 
Epiphany,  New  York,  then  at  chapels 
of  Trinity  Church,  at  Columbia  Uni- 
versity from  1856;  Dr.  Mus.,  Columbia, 
1864.    B.  July  1,  1825,  Newark. 

Walter  (Gustav)  sang  ten.  in 
opera,  debut  at  Vienna,  1856,  later  a 
successful  concert  singer,  especially  in 
Schubert  lieder,  and  first  ten.,  Vienna 
court  opera;  pupil  of  Vogl,  Prague 
Conservatory.  B.  Bilin,  Bohemia, 
1835;  retired,  1887. 

Walter  (Ignaz)  composed  and  sang 
ten.  B.  1759,  Radowitz,  Bohemia;  d. 
1830,  Ratisbon.  Juliane  Roberts 
was  also  a  singer  and  the  wife  of 
IGNAZ. 


WALTHER 


731 


WAKBEN 


Walther  (Johann)  aided  Martin 
Luther  in  the  preparation  of  the 
"Geystlich  Gesangk  Buchleyn,"  1524, 
the  first  Protestant  Hymnal;  com- 
posed; became  chapelmast6r  to  the 
Elector  of  Saxony,  1525.  B.  1496, 
Gotha,  Thuringia;  d.  1570,  Torgau. 

Walther  (Johann  Gottfried)  wrote 
a"  Musikalischea  Lexicon,"  1732,  Leip- 
sic,  which  was  the  first  to  combine 
definitions  of  musical  terms  with  biog- 
raphy, on  which  Gerber's  work  was 
founded;  composed  chorales  and  clavier 
music;  was  organist  at  Weimar,  where 
he  became  the  intimate  of  his  kinsman 
J.  S.  Bach,  then  at  Erfurt  and  again 
at  Weimar,  where  he  was  made  court 
musician;  pupil  of  Jacob  Adlung  and 
J.  B.  Bach.  B.  Sept.  18,  1684,  Erfurt; 
d.  Mar.  23,  1748,  Weimar. 

Walther  (Johann  Jacob)  played 
violin;  composed  many  works  for  the 
Electoral  Court  at  Mayence,  including 
dances  and  variations  in  which  are 
imitations  of  bird  calls;  improved  the 
technique  of  the  violin.  B.  1650, 
Thuringia. 

Walther  von  der  Vogelweide  was 
a  noted  Minnesinger  and  poet.  B. 
about  1164,  probably  in  the  Tyrol;  d. 
after  1227,  Wurzburg. 

Waltz.  Fr.  Dance  said  to  have 
originated  in  Bohemia  but  now  of  al- 
most universal  popularity.  It  is  in 
triple  measure  time  in  crochets  and 
quavers,  and  consists  of  eight  or  six- 
teen bar  phrases.  A  coda  and  intro- 
duction are  frequently  added  to  the 
original  dance  form  by  modern  waltz 
writers.  The  "  Vienna "  waltz  is 
characterized  by  a  rapid  movement 
and  strict  unbroken  time.  Landler 
are  slower  and  more  dignified  than 
the  waltz.  "  Classical  waltzes  "  are 
compositions  in  waltz  form  intended 
as  concert  pieces  not  for  dance  tunes. 
Greater  scope  is  given  to  the  com- 
poser and  player  than  is  compatible 
with  the  rhythm  of  the  waltz. 

Waltzer.     Ger.    WALTZ. 

Walze.  Oer.  A  roll  or  symmet- 
rical run  or  division. 

Wambach  (Emile  Xavier)  com- 
posed a  hjonn  for  chorus  and  orchestra, 
two  oratorios,  the  Flemish  drama, 
"Nathan's   Parabel,"  the  symphonic 


poem  "Aan  de  boorden  van  de 
Schelde";  pupil  Antwerp  Conserva- 
tory. B.  Nov.  26,  1854,  Arlon,  Lux- 
embourg; add.  Antwerp. 

Wanhal  or  Vanhall  (John  Bap- 
tist) composed  100  symphonies,  100 
string  quartets,  25  masses,  two  operas, 
an  oratorio,  etc.;  played  violin;  pupil 
of  Kozak  and  Erban.  B.  May  12,  1739, 
Nechanicz,  Bohemia;  d.  1813,  Vienna. 

Wanless  (Thomas)  composed  "  The 
York  Litany,"  anthems  and  church 
music;  played  organ  York  Minster. 
D.  1721. 

Wanski  (Jan)  composed  popular 
Polish  songs.  Jan  ITeponiuk  com- 
posed a  method  and  etudes  for  violin; 
played  violin  in  successful  tours  as 
virtuoso;  pupil  of  Baillot.  B.  about 
1800;  son  of  JAN;  retired  and  settled 
at  Aix. 

Ward  (John)  composed  "Die  not, 
fond  man,"  and  other  madrigals  dedi- 
cated to  his  "  good  Maister,  Sir  Henry 
Fanshawe,  Knight,"  and  published 
1613 ;  anthems  and  an  Evening  Service. 

Ward  (John  Charles)  composed 
"  The  Wood,"  cantata  for  double  choir, 
"  A  Psalm  of  Life  "  with  orchestra ; 
orchestral  fugue  on  "  The  Sailor's 
Hornpipe " ;  played  organ  London 
churches.    B.  Mar.  27,  1835,  London. 

Warnots  (Jean  Arnold)  taught 
music  in  Brussels.  B.  1801;  d.  1861. 
HENRI  composed  the  operetta  "  Une 
heure  du  Mariage,"  Strassburg,  1867, 
in  which  he  sang  the  leading  rOle;  a 
patriotic  cantata,  Ghent,  1867;  in 
early  life  an  opera  singer;  then 
founded  a  music  school  in  Brussels, 
and  directed  Brussels  City  Musical  So- 
ciety ;  pupil  of  his  father  JEAN  AR- 
NOLD, and  later  of  the  Brussels  Con- 
servatory, where  he  was  for  a  time 
professor.  B.  1832,  Brussels;  d.  1861, 
Brussels.  Elly  sang  sop.  in  opera, 
debut  at  Brussel,  1878,  and  later  at 
Florence,  the  Paris  Opgra  Comique; 
daughter  and  pupil  of  HENRI.  B. 
LiSge,  1857. 

Warren  (Joseph)  played  violin, 
piano,  organ ;  wrote  "  Hints  to  Young 
Composers,"  etc.;  composed  masses. 
B.  Mar.  20,  1804;  d.  Mar.  8,  1881, 
Bexley,  Eng. 

Warren    (Samuel    Prowse)    com- 


46 


WAKBEN 


723 


WEBEK 


posed  church  music;  played  organ  All 
Souls',  and  later  Trinity  Church,  New 
York;  pupil  of  Haupt,  G.  Schumann, 
and  Wieprecht.  B.  Feb.  18,  1831, 
Montreal,  Can.  Bichard  Henry- 
founded  the  Church  Choral  Society  for 
which  Parker's  "  Hora  Novissima '' 
was  composed ;  composed  songs,  a  comic 
opera,  anthems,  and  services;  played 
organ  St.  Bartholomew's  from  1886; 
conducted  orchestral  concerts;  son  and 
pupil  of  SAMUEL  PEOWSE.  B.  Sept. 
17;  1859,  New  York;'  add.  New  York. 

Warren  (William)  composed; 
played  organ  St.  Thomas's  church. 
New  York,  from  1870;  was  instructor 
Columbia  University.  B.  1828,  Albany, 
N.  Y.;  d.  1902,  New  York  City. 

Wartel  (Pierre  Frangois)  sang  ten. 
in  opera,  introduced  Schubert's  songs 
to  France;  taught  Nilsson,  Trebelli, 
etc.;  pupil  of  Choron,  and  later  prize 
pupil  Paris  Conservatoire.  B.  April 
3,  1806,  Versailles;  d.  1882,  Paris. 
Atala  Therese  Annette  Adrlen  com- 
posed studies  for  the  piano;  played 
piano,  the  first  woman  instrumentalist 
to  play  at  the  Conservatoire  concerts; 
taught,  Paris  Conservatoire,  where  she 
had  been  a  pupil;  also  pupil  of  her 
father,  the  violinist  Adrien.  B.  July  2, 
1814,  Paris;  m.  PIERRE  FRANCOIS; 
d.  1865.  Emil  sang  Paris  Theatre 
Lyrique;  then  founded  a  school  of 
singing.  Son  and  pupil  of  PIERRE 
FRANCOIS  and  ATALA  T.  A. 

Warwick  (Thomas)  played  organ 
Eng.  Chapel  Royal  in  succession  to 
Orlando  Gibbons;  composed  a  40-part 
song.    D.  after  1641. 

Wasielewski,  von  (Joseph  W.) 
wrote  historical  and  critical  books  on 
music;  composed;  played  violin  and 
conducted.  B.  1822,  Dantzic;  d.  1896, 
Sondershauaen. 

Wassermann.  (Heinrlch  Toseph) 
played  violin;  composed.  B.  1791, 
Schwarzbaach,  Fulda;  d.  1838,  Richen, 
near  Basle. 

Wasserorgel.  Ger.  Hydraulic 
ORGAN. 

Watson  (Jolm  Jay)  played  violin 
and  conducted.  B.  Sept.  23,  1830, 
Gloucester,  Mass.;  d.  1902,  Boston. 

Watson  (William  Michael)  taught 
and  issued  compositions  under  the  pen 


name  "Jules  Favre."  B.   1840,  New- 
castle-on-Tyne ;  d.  1889,  London. 

Waves  of  Sound  are  set  in  motion 
by  any  regularly  vibrating  body;  vi- 
bration is  the  term  more  commonly 
used  in  ACOUSTICS. 

Wayghtes.    WAITS. 

Webb  (Baniel)  wrote  on  music. 
B.  1735,  Taunton;  d.  1815,  Bath,  Eng. 

Webb  (George  James)  played  or- 
gan; edited  music  publications.  B. 
1803,  near  Salisbury,  Eng.;  d.  1887, 
Orange,  N.  J. 

Webbe  (Sam.uel)  composed  the 
canon  '"  O  that  I  had  wings,"  Catch 
Club  prize,  1776,  won  26  medals  for 
other  such  compositions ;  glees,  includ- 
ing "Glorious  Apollo";  edited  collec- 
tions of  masses  including  many  of  his 
own;  played  organ  Sardinian  chapel; 
pupil  of  Barbandt.  B.  1740,  Minorca; 
d.  1816,  London.  Samuel,  Jr.,  com- 
posed the  glee  "  Come  away  death," 
prize  catches  and  canons ;  played  organ 
in  London  and  Liverpool  churches; 
pupil  and  son  of  SAMUEL.  B.  1770, 
London ;  d.  Nov.  25,  1873. 

Weber,  von  (Freiberr  Johann 
Baptist)  founded  the  Weber  family  of 
musicians;  was  ennobled  by  Emperor 
Ferdinand  II,  1622.  The  title  was  suf- 
fered to  lapse  after  his  death  until 
1738.  Joseph  Franz  Xaver  was  an 
amateur  in  music  and  the  drama; 
young  brother  of  Freiherr  Johann 
Baptist.  Fridolin  was  steward  of  the 
Schonau-Zella  estates  near  Freiburg, 
Bresgau;  but  played  violin,  organ, 
sang,  and  was  a  devoted  amateur  of  mu- 
sic. Son  of  JOSEPH  FRANZ  XAVER ; 
d.  1754.  Fridolin  played  violin  in  the 
Electoral  Court  at  Mannheim;  suc- 
ceeded his  father,  PRIODLIN,  as  land 
steward  at  Schonau.  B.  1733,  Zell; 
m.  Marie  Caecilie  Stamm,  Mannheim, 
1746.  Josepha  sang  sop.  in  opera; 
Mozart  composed  the  r51e  of  "  Queen 
of  the  Night"  in  "Zauberflote"  for 
her.  Oldest  daughter  of  the  second 
FRIDOLIN;  m.  Hofer,  the  violinist, 
1789,  and  on  his  death,  the  basso, 
Meyer.  D.  1820.  Aloysia  sang  sop. 
in  opera;  was  Mozart's  first  love  and 
sister-in-law ;  created  "  Constanze  "  in 
"  Entfuhrung,"  which  he  composed  for 
her.     B.  1750 ;  sister  of  JOSEPHA ;  m. 


WEBER 


723 


WEBEB 


the  actor  Lange,  1780 ;  d.  1839,  Salzburg. 
CoxLStanze  became  the  wife  of  W.  A. 
MOZART.  Sophie  wrote  an  account 
of  Mozart's  death,  which  she  witnessed 
while  living  with  her  sister  CON- 
ST ANZE.  B.  1764;  m.  the  tenor,  Haibl; 
d.  1843,  Salzburg.  Franz  Anton  was 
the  father  of  CARL  MARIA  FRIED- 
RICH  ERNST,  who  is  the  subject  of 
a  separate  article.  An  able  musician, 
he  was  a  member  of  the  court  orchestra 
of  the  Elector  Palatine,  but  being 
wounded  in  the  Battle  of  Rosbach, 
where  his  master  was  opposed  to  Fred- 
erick the  Great,  he  retired,  and  en- 
tered the  service  of  the  Prince-Bishop 
of  Cologne.  There  he  became  steward 
and  court  councillor,  but  was  deprived 
of  office  because  he  neglected  his 
duties  for  music.  EDMUND  and 
FRIDOLIN,  sons  by  his  first  marriage, 
were  both  talented  in  music.  His  wan- 
dering life  after  his  second  marriage 
is  sufficiently  referred  to  in  the  notice 
of  CARL  MARIA  FRIEDRICH 
ERNST.  B.  1734;  younger  brother  of 
the  first  FRIDOLIN.  Edmund  be- 
came a  good  theoretical  musician,  but 
was  not  great  as  either  violinist  or  con- 
ductor ;  was  also  painter  and  engraver. 
Eridolin  conducted;  sang;  was  pupil 
of  Haydn.  B.  1761;  son  of  FRANZ 
ANTON  and  half  brother  of  CARL 
MARIA  FRIEDRICH  ERNST. 

Weber,  von  (Freiherr  Carl  ]M[aria 
Friedrich  Ernst)  composed  the  operas 
"ABU  HASSAN,"  "  FREISCHUTZ," 
"  EURYANTHE,"  "  PRECIOSA,"  and 
"OBERON,"  which  were  at  once  the 
beginning  of  German  opera  as  a 
national  institution,  and  of  the  Rb- 
mantic  School,  making  him  the  pre- 
cursor of  both  Wagner  and  Schumann; 
was  a  first-class  pianist  and  composer, 
and  a  clever  musical  litterateur.  His 
mother  had  sung  in  such  rdles  as 
"Constanze "  in  Mozart's  "  Entfuh- 
rung  "  and  his  father  FRANZ  ANTON, 
a  man  of  fine  musical  taste,  a  virtuoso 
on  the  viola  and  doublebass,  but  a 
strolling  player  by  preference,  natur- 
ally brought  the  children  up  in  an 
atmosphere  of  music  and  the  theatre. 
They  with  his  half  brother  EDMUND, 
were  naturally  his  first  instructors, 
but  at  10  he  was  also  the  pupil  of  J. 


P.  Heuschkel,  and  in  the  course  of 
their  wanderings,  the  family  settled 
for  a  time  in  Salzburg,  where  the  boy 
was  entered  in  the  cathedral  choir, 
then  conducted  by  MICHAEL  HAYDN. 
For  the  next  six  months  Weber  en- 
joyed the  privilege  of  free  lessons 
from  that  learned  composer,  and  then 
the  family  moved  to  Munich,  where  he 
had  as  teachers  Valesi  and  Kalcher. 
His  first  published  compositions  were 
a  set  of  fughettas  in  1798,  while  under' 
the  tutelage  of  Haydn.  Under  Kal- 
cher's  tuition  he  composed  a.  mass, 
chamber  music,  and  the  opera  "  Die 
Macht  der  Liebe  und  des  Weins," 
creditable  work  for  a  boy  of  12,  no 
doubt,  but  the  manuscript  was  either 
lost  or  destroyed  by  the  composer  in 
after  years.  At  this  period  he  formed 
the  acquaintance  of  Senefelder,  the 
inventor  of  lithography,  engraved  his 
own  variations  dedicated  to  Kalcher, 
Op.  2,  and  fancied  that  he  had  dis- 
covered important  improvements  in 
lithography,  which  so  interested  his 
father  that  he  at  once  took  his  family 
to  Freiberg,  in  order  to  begin  experi- 
ments on  a  large  scale,  —  and  aban- 
doned the  idea  as  soon  as  he  had 
reached  his  journey's  end.  In  Frei- 
berg, however,  the  Weber  family 
encountered  Ritter  von  Steinberg, 
head  of  a  theatrical  company,  and 
author  of  an  opera  book  which  he 
cheerfully  turned  over  to  the  13  year 
old  composer.  Nov.  13,  1800,  this 
work  was  produced  as  "  Das  Wald- 
madchen,"  but  hardly  equalled  the 
extravagant  claims  which  had  been 
made  for  it,  although  it  was  after- 
wards performed  in  Vienna,  St.  Peters- 
burg, and  other  music  centres.  The 
boy  again  turned  his  attention  to 
lithography,  and  offered  his  process 
to  Arataria,  who  did  not  reply  to  his 
letters.  In  the  autumn  of  1801  the 
family  had  returned  to  Salzburg, 
where  Weber  composed  his  next  opera, 
"  Peter  Schmoll  und  sein  Nachborn," 
which  was  produced  two  years  later 
in  Augsburg,  without  success.  In 
1804  he  became  the  pupil  of  AbbS 
VOGLER,  and  by  the  advice  of  that 
learned  musician  devoted  nearly  two 
years   to   study,   without   attempting 


WEBEB 


724 


WEBEB 


compositions  in  the  larger  forms.  Ow- 
ing to  Vogler's  influence,  he  obtained 
the  appointment  of  conductor  at  the 
Breslau  Theatre  while  in  his  18th  year. 
This  post  he  resigned  after  two  years 
of  hard  work,  supported  himself  for  a 
time  giving  lessons,  but  soon  obtained 
the  post  of  Musik-Intendant  to  Duke 
Eugene  of  Wiirtemberg.  His  only 
symphonies,  two  in  C  major,  were 
composed  during  this  period,  but  the 
Napoleonic- wars  disrupted  the  court, 
and  Weber  next  became  private  secre- 
tary and  music  master  to  Duke 
Ludwig  at  Stuttgart.  Three  years  of 
dissipation  followed.  He  recast  "  Das 
Waldmadchen  " ;  composed  13  songs, 
the  piano  quartet  in  B  flat,  and  "  Der 
Erste  Ton"  for  solo,  chorus,  and  orches- 
tra, but  was  led  into  financial  difficul- 
ties by  the  singer  Magarethe  Lang, 
and  just  on  the  eve  of  the  production 
of  his  remodelled  opera  "  Silvana," 
was  thrown  into  prison,  charged  with 
having  sold  a  court  appointment  which 
carried  exemption  from  military  ser- 
vice. Although  his  conduct  was  satis- 
factorily explained,  he  was  banished, 
and  after  giving  a  concert  of  his  own 
compositions  in  Hannheim,  he  settled 
in  Darmstadt  with  his  old  master, 
Abb€  Vogler.  "  Silvana  "  was  finally 
given  with  fair  success  in  Frankfort, 
1810,  and  in  1811  he  achieved  his 
first  real  success  as  a  dramatic  com- 
poser with  the  singspiel  "  Abu  Has- 
san," Munich.  Then  followed  a  series 
of  concert  tours,  which  ended  for  a 
time  when  he  settled  in  Prague  to 
reorganize  the  opera,  and  having  been 
familiar  with  every  detail  of  the  stage 
from  childhood,  he  soon  accomplished 
a  salutary  revolution.  He  restored 
discipline,  perfected  the  stage  settings, 
and  managed  every  detail,  conducting 
with  a  degree  of  enthusiasm  and  pre- 
cision then  unusual,  and  producing 
many  new  works.  This  engagement 
closed  with  a  triumphal  .performance 
of  his  cantata  "  Kamp  und  Krieg  "  in 
celebration  of  the  Battle  of  Waterloo. 
Count  Bruhl,  Spontini's  old  antagonist 
in  Berlin,  vainly  endeavored  to  secure 
Weber's  appointment  at  this  time  to 
a  chapelmastership,  and  Weber  then 
accepted  a  call  to  a  similar  post  in 


Dresden,  where  he  passed  the  remainder 
of  his  life.  The  following  year,  Nov. 
4,  1817,  he  married  Caroline  Brandt, 
a  young  actress  with  whom  he  had 
long  been  in  love,  and  who  had  taken 
the  chief  r61e  in  his  "  Silvana "  in 
Frankfort.  The  most  important  period 
of  his  life  as  a  musician  began  aus- 
piciously. He  took  his  bride  on  a 
concert  tour  at  which  both  were 
everywhere  cordially  received,  and 
began  to  compose  "  Freischiltz,"  his 
greatest  opera,  which  was  not  com- 
pleted until  1820.  In  the  intervals  of 
official  duties,  he  composed  chamber 
music,  scored  the  music  for  "Preciosa," 
(Wolff's  play)  in  three  weeks,  and 
began  the  comic  opera  "  Die  drei 
Pintos,"  (completed  by  Mahler).  In 
1821  the  incidental  music  to  "  Pre- 
ciosa "  was  given  in  Berlin  for  the 
first  time,  and  on  June  18  of  that 
year,  "  Freischutz "  was  produced. 
Weber  himself  conducted  both  re- 
hearsals and  performance  of  the 
opera,  which  aroused  the  Germans  to 
the  greatest  demonstration  of  appro- 
val ever  known  in  Berlin  up  to  that 
time.  The  reception  given  the  com- 
poser on  hjs  concert  tours  indicated 
that  he  was  everywhere  more  thor- 
oughly appreciated  than  in  Dresden, 
and  he  was  tempted  to  accept  the  chief 
conductorship  at  Cassel,  where  he  had 
been  offered  an  increase  of  salary.  In 
1822,  however,  "Freischtttz"  made 
him  immensely  popular  at  home,  and 
so  established  his  reputation  that  he 
was  commissioned  to  compose  a  new 
work  for  the  Kamthrierthor  Theatre 
in  Vienna.  "  Euryanthe  "  was  selected 
as  the  subject.  While  he  was  at 
work  on  this  opera,  he  received  an 
invitation  to  compose  a  new  work 
for  Paris.  "Euryanthe"  was  not  fa- 
vourably received  by  the  Viennese, 
although  Weber  had  himself  had  been 
accorded  ovations  when  he  conducted 
the  first  three  performances.  Greatly 
discouraged  at  the  result  of  what  he 
had  hoped  would  be  his  best  work, 
and  already  in  the  grip  of  consump- 
tion, which  had  killed  his  mother, 
and  was  soon  to  carry  him  off,  Weber's 
chief  anxiety  was  to  make  suitable 
provision    for    his    family.      Kemble 


WEBER                        725  WEGELITIS 

offered  $5000  for  an  opera  for  Lon-  near   Mannheim;    d.    Sept.    21,    1839, 

don,    and    invited    him    to    conduct  Kreuznach. 

"Freischtttz"and"Preciosa."  Warned  Weber's   Last   Waltz   was   really 

by  his  physician  that  while  he  might  composed  by  Reissiger,  but  was  attrib- 

Uve    for    years    in    Italy,    a    sojourn  uted  to  Weber  because  a  manuscript 

in  England  would  end  his  existence  copy   was    found   among   his   papers. 

m    a    few    months,    he    nevertheless  Known    also   as    "  Dernifere    Pensee " 

accepted,  and  "  Oberon  "  having  been  and  "  Letzter  Gedanke." 

selected  as  the  subject,  he  began  the  Wecherlin   (Jean  Baptiste)  com- 

study  of  English  to  qualify  hnnself  posed  the  choral  symphony  "  Roland," 

for  the  task  before  him.     In  1826  he  1847 ;    the  one-act  opera  "  L'organiste 

started  for  London,  lingered  for  a  time  dans    I'embarras,"    Theatre    Lyrique, 

in  Paris,  and  reached  his  destination  Paris,  where  it  ran  100  performances. 

Mar.    5.     The   work   was    performed  1853;    the  one-act  opera  "  Apr6s  Fon- 

with  great  success  on  April   12,  and  tenot,"   Theatre   Lyrique,    1877;     the 

Weber  conducted  the  first  twelve  per-  "  Symphonic   de   la    fOret,"   the   ora- 

formances.      Although    his    strength  torio  "Jugement  Dernier,"  the  sym- 

ivrnn         ^n^1i-» JJl 1 Til !__ _T ;_        _1-       tC    Tt 1  1  ■»  «-  •«        .1 


was   failing  rapidly,  he  likewise  ap 
peared  at  a  nimiber  of  concerts.    His 


phonic  ode  "  Poemes  de  la  Mer,"  'the 
"Paix,    Charite,    Grandeur,"    Opgra, 


last  work,  the  song  "  From  Chindara's    1866,  and  other  cantatas,  in  all  500 


warbling  fount,"  was  sung  to  the  com 
poser's    accompaniment    on   May    26, 


works,  including  31  operas;    was  li- 
brarian of  the  Paris  Conservatoire  from 


His  last  public  appearance  took  place  1876,  having  been  the  assistant  from 
four  days  later.  B.  Dec.  18,  1786,  1869;  edited  collections  of  old  music; 
Eutin,  Oldenberg;  d.  June  5,  1826,  wrote  a  history  of  instrumentation; 
London.  Besides  the  works  named  pupil  of  Elwaert  and  Halfivy,  Paris 
he  left  the  unfinished  opera  "  Riibe-  Conservatoire.  B.  Nov.  9,  1821,  Gueb- 
zahl,"  incidental  music  to  "Konig  wilier,  Alsace;  add.  Paris. 
Ingurd,"  "Heinrich  IV,"  "Der  Leucht-  Wechselgesang.  Oer.  Responsive 
thurm,"  the  cantatas  "  Natur  und  or  antiphonal  song. 
Liebe,"  the  hymn  "  In  seiner  Ordnung  Wechselnote.  Ger,  Proceeding  in 
schaff  der  Herr  "  with  orchestra,  two  counterpoint  from  a  discord  by  a  skip, 
masses,  four  scenas  for  sop.  with  Wedding  of  Camacho.  Felix  Men- 
orchestra;  two  scenas  for  ten.  with  delssohn's  early  opera,  to  book  by 
chorus  and  orchestra;  19  part-songs,  Klingemann,  based  on  "Don  Quixote," 
six  canons,  two  clarinet  concertos,  a  and  known  in  German  as  "  Die  Hoeh- 
bassoon  concerto,  adagio  and  rondo  zeit  des  Camacho,"  was  performed  for 
ungarese  for  bassoon  and  orchestra,  the  first  and  only  time  in  Berlin, 
the  "Invitation  to  the  Dance"  ("Auf-  April  29,' 1827. 

forderung  zum  Tanze")_,  Op.  65;    10  Wedekind    (Erica)    sang    sop.    in 

sonatas,  Concertstuck  with  orchestra,  opera  and  concert,  debut  1894,  Dres- 

6    ficossaises,    12   Allemands,    sets'  of  den,  where  she  was  engaged  fi^ve  years ; 

variations,    a   Jubel-overture   and    18  pupil  Dresden  Conservatory.    B.  Nov. 

'  Valses  favorites  de  I'imperatriee  de  13,    1872,   Hanover;     m.   Herr   Osch- 


Franee."  See  biographies  by  M.  M. 
von  Weber  (his  son),  Barbadette, 
Paris,    1862;     Jahns,    Leipsic,    1873; 


wald,  1898. 

Weelkes  (Thomas)  composed  an- 
thems, ballets,  and  madrigals,  contrib- 


Th.  Hell,  1828,  and  Weber's  letters  to    uted  to  "  The  Triumphes  of  Oriana," 


his  wife,  published  by  Carl  von  Weber, 
1886. 


1601,   "As   Vesta   was   from   Latmos 
Hill  descending";  played  organ  Win- 


Weber   (Gottfried)   conducted  the    Chester  College  and  Chichester  Cathe- 


Museum      concerts     in      Mannheim; 
played  flute,  piano,  'cello;    wrote  on 


dral;    publications  dated  1597-1614. 
Wegeler   (Franz  Gerhard)   was 


music;    composed  a  piano  sonata,  Te    Beethoven's  physician  and  biographer. 
Deum  with  orchestra,   three   masses,    B.  1765,  Bonn;   d.  1848,  Ooblentz. 
a    Requiem.      B.    1779,    Freinsheim,       Wegelius  (Martin)  composed  "  Mig- 


WEHLE 


726 


WEISSBECE 


non  "  for  sop.  and  orchestra,  the  over- 
ture "Daniel  Hjort";  wrote  text- 
books; conducted  opera  and  directed 
Helsingfors  Conservatory;  pupil  of 
Bibl,  Riohter,  and  Paur.  B.  Nov.  10, 
1846,  Helsingfors;   add.  Helsingfors. 

Wehle  or  Wehli  (Karl)  composed  a 
sonata.  Op.  38,  and  opera  piano  music; 
played  piano  in  virtuoso  tours  of 
America  and  Europe;  pupil  of  Mos- 
cheles  and  Kullak.  B.  Mar.  17,  1825, 
Prague;    d.  1883,  Paris. 

Welch.  Ger.  MINOR;  soft  and 
rich. 

Weldenbach.  (Johaniies)  taught 
piano,  Leipsic  Conservatory,  where  he 
had  been  a  pupil.  B.  Nov.  29,  1847, 
Dresden;    add.  Leipsic. 

Weigl  (Joseph.)  played  'cello  in  the 
Esterhazy  orchestra  under  Haydn, 
later  in  the  Imperial  Opera  and 
Chapel.  B.  1741,  Vienna;  d.  Jan.  25, 
1820,  Vienna.  Joseph  composed  the 
"  Sohweizer  familie,"  "  L'Uniforme," 
"  Cleopatra,"  and  many  other  success- 
ful operas.  Passions,  church  music; 
conducted  operas  in  Vienna;  pupil 
of  Albrechtsberger  and  Salieri,  godson 
of  J.  Haydn;  medal  of  honour  and 
freedom  of  the  city  of  Vienna,  1839. 
B.  Mar.  28,  1766,  Eisenstadt,  son  of 
JOSEPH;  d.  1846,  Vienna.  Thad- 
daus  composed  the  ballet  "  Bacchus 
and  Ariadne " ;  published  music  in 
Vienna;  chapelmaster  of  the  Hof- 
burg.  B.  1776;  brother  of  the  second 
JOSEPH;    d.  1844,  Vienna. 

Weihnachtslieder.    Ger.   CAROLS. 

Weinberger  (Karl)  composed  "  Die 
Ulanen,"  1891,  Vienna;  "  Laohenda 
Erben,"  1892 ;  "  Blumen-Mary,"  1897 ; 
"Adam  und  Eva,"  1898,  and  other 
popular  light  operas.  B.  April  3, 
1861,  Vienna;    add.  Vienna. 

Weingartner  (Paul  Felix)  com- 
posed the  operas  "  Sakuntala,"  Wei- 
.mar,  1884;  "Malawika,"  Munich, 
1886;  "Genesius,"  Berlin,  1893,  which 
was  quickly  withdrawn  but  later  pro- 
duced with  success  at  Mannheim  and 
elsewhere;  "Orestes,"  Berlin,  1902; 
the  symphonic  poems  "KSnig  Lear," 
"Das  Gtefilde  der  Seligen";  suc- 
ceeded MAHLER  as  conductor  of  the 
Vienna  Opera,  where  he  was  engaged 
in  1908;    pupil  of  W.  A.  Remy,  then 


of  the  Leipsic  Conservatory,  where  he 
won  the  Mozart  prize,  and  then  one 
of  the  Liszt  disciples  at  Weimar,  he 
became  conductor  of  the  Konigsberg 
Theatre,  and  held  similar  posts  at 
Dantzic,  Hamburg,  and  Mannheim 
until  1891,  when  he  was  called  to  the 
Berlin  Opera,  and  also  conducted  the 
symphony  concerts  of  the  Royal  or- 
chestra; from  1898  conducted  the 
Kaim  concerts  in  Munich,  and  fre- 
quently appeared  as  conductor  in 
other  European  cities  and  in  America. 
B.  June  2,  1863,  Zara,  Dalmatia;  add. 
Vienna. 

Weinlig  (Christian  Ehrgott) 
played  organ;  composed;  pupil  of  Ho- 
milius  and  of  Padre  Mattel,  Bologna. 
B.  1743,  Dresden;  d.  1813.  Christian 
Theodor  taught  theory,  numbering 
Wagner  among  his  pupils;  composed; 
became  cantor  of  the  Xhomasschule 
in  succession  to  Schlicht;  nephew 
and  pupil  of  CHRISTIAN  EHRGOTT. 
B.  1780,  Dresden;    d.  1842,  Leipsic. 

Weis  (Carl)  composed  "  The  Polish 
Jew,"  Berlin,  1902,  the  comic  opera 
"  The  Twins,"  Frankfort,  1903. 

Weisheimer  (Wenderlin)  com- 
posed the  operas  "  Theodor  KSrner," 
Munich,  1872;  "Meister  Martin  und 
sein  Gesellen,"  Carlsruhe,  1879 ;  wrote 
essays;  taught  at  Strassburg;  con- 
ducted at  Wurzburg;  pupil  Leipsic 
Conservatory.  B.  1836,  Osthofen,  Al- 
sace;   add.  Strassburg. 

Weiss  (Franz)  played  viola  in  the 
Schuppanzigh  quartette;  composed 
chamber  music.  B.  1778,  Silesia;  d. 
1830,  Vienna. 

Weiss  (Julius)  played  violin,  for 
which  he  wrote  method;  taught; 
wrote  criticism ;  pupil  of  Henning.  B. 
July  19,  1814,  Berlin. 

Weiss  (Willoughby  Hunter)  com- 
posed the  "Village  Blacksmith"  and 
other  popular  songs;  sang  in  opera 
and  oratorio;  pupil  of  Sir  George 
Smart.  B.  April  2,  1820,  Liverpool; 
d.  Oct.  24,  1867.  Oeorgina  Ansell 
Barrett  sang  minor  'rales  in  opera; 
pupil  Royal  Academy  of  Music.  B. 
1826,  Gloucester;  m.  WILLOUGHBY 
HUNTER,  and  on  his  death,  C.  Davis; 
d.  Nov.  6,  1880,  Brighton. 

Weissbeck  ( Johann  Michael)  com- 


WEISSENOTE 


737 


WESLEY 


posed;  -wrote  pamphlets  on  music; 
played  organ,  and  conducted  church 
music.  B.  1756,  Unterlaimbach,  Swa- 
bia;    d.  1808. 

Weissenote.  Oer.  White  note,  a 
minim. 

Weist-Hill  (Henry)  conducted 
concerts  in  London,  at  which  many 
novelties  were  presented;  became  prin- 
cipal the  Guildhall  School  of  Music, 
1880;  pupil  Royal  Academy  of  Music. 
B.  1830,  London. 

Weiteharmoiiie.  Ger.  Scattered 
harmony. 

Welch.  (John  Bacon)  taught  sing- 
ing Guildhall  School  of  Music;  pupil 
of  Nava,  Milan.  B.  1839,  Northamp- 
ton, Eng. 

Welcher  von  Oontershausen 
(Heinricli)  wrote  on  the  history  and 
construction  of  instruments;  was 
piano  maker  to  the  Duke  of  Hesse. 
B.  1811,  Gontershausen ;    d.  1873. 

Weldon  (Georgina  Thomas)  com- 
posed and  sang  in  English  concerts  and 
music  halls.  B.  May  24,  1834;  re- 
tired 1885. 

Weldon  (John)  composed  the  prize 
settings  of  Congreve's  masque  "The 
judgement  of  Paris,"  anthems,  and 
songs;  played  organ  Eng.  Chapel 
Royal;  pupil  of  Walter  and  Henry 
Purcell.  B.  1676,  London;  d.  1736, 
London. 

Welsh  Harp.  HARP  played  in 
Wales,  originally  single  action. 

Welsh.  (Thomas)  sang  in  English 
operas,  later  becoming  bass  of  the 
Eng.  Chapel  Royal;  in  boyhood  chor- 
ister Wells  Cathedral.  B.  1780,  Wells ; 
d.  1848.  Mary  Anne  Wilson  sang 
sop.  with  great  success,  earning 
$50,000  in  the  first  year  of  a  brief 
career;  pupil  of  Thomas,  whom  she 
married.     B.  1802;    d.  1867. 

Wenck  (August  Henri)  composed 
piano  sonatas;  invented  a  METRO- 
NOME ;  played  violin ;  pupil  of  Benda. 
Lived  in  Paris,  1786,  and  in  Amster- 
dam, 1806. 

Wenig.  Oer.  Little,  as  ein  stark, 
rather  loud. 

Wenzel  (Leopold)  composed  op- 
erettas, ballets;  played  violin;  con- 
ducted at  the  Alcazar,  Paris,  and 
from  1883,'  Empire  Theatre,  London; 


pupil  Naples  Conservatorio  di  S. 
Pietro  a  Majella;  toured  as  violin 
virtuoso  at  13;  joined  Metra's  or- 
chestra, Marseilles,  1866,  of  which  he 
later  became  conductor.  B.  Jan.  23, 
1847,  Naples;    add.  London. 

Wermann  (Friedrich  Oskar)  com- 
posed an  8-part  mass,  "  Reformations- 
Cantate " ;  was  cantor  the  Dresden 
Kreiizsohule  and  conductor  three  Dres- 
den churches;  taught  Dresden  Con- 
servatory; pupil  Leipsic  Conserva- 
tory.  B.  April  30,  1840;  add.  Dresden. 

Werner  (Josef)  composed  for  'cello, 
wrote  a  'c^Uo  method;  played  'cello, 
and  taught  Munich  School  of  Music; 
pupil  Munich  Conservatory.  B.  June 
25,  1837. 

Wert,  de  (Jacques)  composed  10 
books  of  madrigals  published  in  Ven- 
ice between  1558  and  1591,  a  "  con- 
certo maggiore "  for  57  singers.  B. 
Netherlands;    d.  1596,  Mantua. 

W€ry  (Nicholas  Lambert)  taught, 
composed  for  and  played  violin.  B. 
1789,  near  Li6ge;  d.  1867,  Luxem- 
bourg. 

Wesentllch..  Oer.  "  Essential,"  as 
SEPTIME,  essential  or  dominant 
seventh. 

Wesley  (Charles)  composed  six  so- 
natas for  harpsichord  or  organ,  music 
for  the  play  "  Caractacus,"  songs,  an- 
thems ;  played  organ  London  churches ; 
son  of  Rev.  Charles  and  nephew  of 
Rev.  John  Wesley.  B.  Dec.  11,  1757, 
Bristol;  d.  May  23,  1834.  Samuel 
played  violin,  organ,  sang;  composed 
the  oratorio  "Ruth"  at  eight,  and 
later,  masses,  antiphons,  services, 
glees,  songs,  symphonies,  and  much 
music  for  organ  and  piano ;  conducted 
and  played  organ  Birmingham  Festi- 
vals; brother  and  pupil  of  CHARLES. 
B.  1766,  Bristol;  d.  1837.  Samuel 
Sebastian  composed  12  notable  an- 
thems, a  service  in  E  major;  wrote 
on  cathedral  music,  on  which  he  was 
an  acknowledged  authority;  played 
organ,  Hereford  Cathedral  and  Leeds 
parish  church,  and  later  organist 
Gloucester  Cathedral,  and  therefore 
conductor  in  turn  of  the  Three  Choir 
Festivals ;  was  Dr.  Mus.  and  professor 
of  music,  Edinburgh  University;  in 
boyhood  chorister  Eng.  Chapel  Royal. 


WESSEL 


728 


WHITE 


B.  Aug.  14,  1810;    son  of  SAMUEL; 
d.  April  19,  1876,  Gloucester. 

Wessel  (Christian.  Budolph)  pub- 
lished music  in  Loudon,  making  a 
specialty  of  the  works  of  native  com- 
posers. B.  1797,  Bremen;  d.  1885, 
London. 

West  (Tohn  Ebenezer)  composed 
two  cantatas,  services.  Psalm  cxxx; 
played  organ  London  churches;  pupil 
of  Prout  and  Bridges,  Royal  Academy 
of  Music.  B.  Dec.  7,  1863,  London; 
add.  London. . 

Westbrook  (Dr.  William  Joseph) 
composed  songs  and  organ  music;  ar- 
ranged and  edited  classic  songs  to 
English  text;  played  organ  and 
taught;  composed  the  oratoriette 
"  Jesus "  for  his  doctor's  degree,  Ox- 
ford. B.  1831,  London;  d.  1894, 
Sydenham. 

Westlake  (Frederick)  composed  a 
Mass  in  E  flat  and  other  church  music; 
played  piano,  taught  Royal  Academy 
of  music,  where  he  had  ^een  a  pupil. 
B.  1840,  Romsey,  Hampshire;  d.  1898, 
London. 

Westmoreland,  Earl  of  (John 
Fane)  helped  found  the  Royal  Academy 
of  Music,  of  which  he  was  president; 
conducted  Ancient  Concerts  from  1832; 
composed  six  Italian  operas;  studied 
music  while  in  the  diplomatic  service, 
and  was  well-known  amateur  while 
Lord  Burghersh.  B.  Feb.  3,  1784;  suc- 
ceeded to  the  earldom,  1844;  d.  Oct. 
16,  1859. 

Westrop  (Henry  John)  composed 
the  opera  "  Maid  of  Bremen,"  cham- 
ber music;  conducted,  sang,  played 
violin  and  piano;  organist  in  London 
churches.  B.  July  22,  1812,  Laven- 
ham,  Eng.;    d.  1879. 

Wetzler  (Hermann  Hans)  con- 
ducted a  symphony  orchestra  in  New 
York  for  a  time  in  1902-3,  then  set- 
tled in  Berlin  as  teacher  and  pian- 
ist; was  assistant  organist  Trinity 
Church,  New  York;  pupil  Clara  Schu- 
mann, of  Scholz,  Knorr,  and  of  Hump- 
erdinck  for  orchestration.  B.  Sept. 
8,  1870,  Prankfort-on-Main;  add. 
Berlin. 

Weyrauch,  von  (August  Hein- 
rich)  composed  the  song  "Adieu," 
long  attributed  to  Schubert,  but  which 


he    published,    1824,    under    his    own 
na)me. 

Wheel.  Refrain  or  burden  of  a 
ballad. 

Whelpley  (Benjamin  Lincoln) 
composed;  taught  music  in  Boston; 
pupil  of  B.  J.  Lang.  B.  Oct.  23,  1865, 
Eastport,  Me.;    add.  Boston. 

Whiffler.  Wand-bearer  to  head  a 
procession,  or  a  fifer.  According  to 
Donee's  "  Illustrations  of  Shake- 
speare "  the  whiflSers  originally  headed 
the  armies  or  processions  as  pipers  or 
flfers.  Later  the  word  came  to  mean 
any  person  who  went  before  in  a 
procession. 

Whistle.  Toy  FLUTE;  making  a 
musical  sound  with,  the  lip  and  breath 
and  without  using  the  vocal  cords, 
the  hollow  of  the  mouth  forming  a 
resonance  box.  Whistling  pitch  is 
an  octave  higher  than  is  generally 
supposed.  • 

Whistling  (Karl  Friedrich)  began 
the  publication  of  a  "handbuch,"  1817, 
in  Leipsic,  which  was  continued  by 
Hofmeister. 

Whitaker  (John)  composed  popu- 
lar songs,  anthems,  English  versions 
of  Anacreontics, ,"  A  Chip  of  the  Old 
Block,"  and  other  light  dramatic 
pieces ;  played  organ  London  churches. 
B.  1776;    d.  1847,  London. 

White  (Alice  XCary  Smith- 
SCeadows)  composed  two  symphonies, 
overtures,  cantatas,  chamber  music, 
songs;  pupil  of  Bennett  and  Macfar- 
ren.  B.  May  19,  1839 ;  m.  F.  Meadows- 
White,  Q.C.;    d.  1884,  London. 

White  (Uaude  Valerie)  composed 
"King  Charles"  and  other  splendid 
part-songs,  14  piano' pieces,  "Pictures 
from  Abroad,"  a  Mass,  many  excel- 
lent solo  songs;  was  Mendelssohn 
Scholar  at  the  Royal  Academy  of 
Music,  where  she  studied  with  Mae- 
farren  and  Davenport,  also  pupil  of 
Rockstro  and  May;  lived  in  South 
America,  ,  Vienna,  and  London.  B. 
June  25,  1855,  Dieppe ;   add.  London. 

White  (Kobert)  composed  church 
music;  played  organ  at  Ely  Cathe- 
dral, 1562-67. 

White  (Bev.  Dr.  Matthew)  com- 
posed anthems,  catches,  songs,  sang 
Eng.    Chapel    Royal;     played    organ 


WHITE 


729 


WIEDEMANN 


Oxford  Cathedral;  received  doctor's 
degree,  Oxford,  1629. 

White  (William)  composed  fan- 
tasias for  lute,  and  much  church 
music,  chiefly  to  Latin  text;  prob- 
ably lived  in  Oxford  early  part  of 
17th  century. 

Whitehill  (Clarence)  sang  bass  in 
opera,  debut,  Brussels,  1899,  in  "Ro- 
meo and  Juliette,"  then  at  Paris 
Opgra  Comique,  and  in  1900,  Metro- 
politan Opera  House,  New  York.  B. 
America;   add.  Paris. 

Whitehorne  or  Whythorne 
(Thomas)  composed  part-songs  pub- 
lished in  London,  1571.     B.  1528. 

Whiting  (George  Elhridge)  com- 
posed a  symphony  in  C,  suite  for 
orchestra  in  E,  the  ballad  "Henry  of 
Navarre  "  for  male  chorus  and  orches- 
tra. Mass  in  C  minor  for  soli,  chorus, 
orchestra,  and  organ;  the  cantata 
"  Dream  Pictures,"  Te  Deum  in  C  for 
the  dedication  of  Boston  Cathedral; 
vesper  services,  4-part  and  solo  songs; 
piano  concerto  in  D  minor;  played 
organ  at  Springfield,  Mass.,  then  suc- 
ceeded Dudley  Buck  at  Hartford; 
settled  in  Boston,  where  he  taught, 
New  England  Conservatory  of  Music; 
played  organ  in  Albany,  where  AL- 
BANI  sang  in  his  choir ;  taught  under 
Theodore  Thomas,  Cincinnati  College 
of  Music;  also  composed  "Golden 
Legend  "  and  dramatic  cantata  "  The 
Tale  of  the  Viking  " ;  pupil  of  Morgan, 
Best,  Haupt,  and  Radecke.  B.  Sept. 
14,  1842,  HoUiston,  Mass.;  add.  Bos- 
ton. Arthur  Battelle  composed  song 
cycles,  services,  concert  overture,  con- 
cert etude;  fantasy  for  orchestra; 
taught  in  Boston  and  New  York ;  pu- 
pil of  Sherwood,  Chadwick,  Parker, 
Rheinberger;  nephew  of  G.  E. 

Whitmore  (Charles  Shapland) 
composed  songs,  and,  on  his  deathbed, 
a  Kyrie;  was  enthusiastic  English 
amateur.      B.    1805,    Colchester;     d. 

1877. 

Whitney  (Samuel  Brentou)  com- 
posed anthems,  organ  sonatas;  played 
organ  Church  of  the  Advent,  Boston; 
lectured  and  taught  organ.  New  Eng- 
land Conservatory  of  Music;  pupil 
of  Wells  and  J.  K.  Paine.  B.  June  4, 
1842,  Woodstock,  Vt.;    add.  Boston. 


Whole  Note.  Semibreve,  the 
longest  note  ordinarily  used  in  mod- 
ern NOTATION. 

Wickede,  von  (Eriedrich)  composed 
songs,  the  opera  "  Ingo,"  the  overture 
"  Per  aspera  ad  astra,"  1875.;  pupil 
of  Vierth;  in  early  life  army  officer, 
and  later  postoffice  official.  B.  July 
28,  1834,  Domitz;   lived  in  Munich. 

Widerspanstigen  Zahmung. 
German  name  of  the  opera  by  Goetz, 
known  in  English  as  "TAMING  OF 
THE  SHREW." 

Widmann  (Erasmus)  published 
and  composed  music;  played  organ 
and  conducted  at  Weikersheim;  was 
poet  laureate,   1607. 

Widor  (Charles  llarie)  composed 
the  successful  allet  "  Korrigane,"  Paris 
Op€ra,  1880;  the  lyric  drama  "  Mattre 
Ambros,"  Opfira  Comique,  May  6, 
1896;  "La  nuit  de  Walpurgis,"  for 
chorus  and  orchestra ;  "  Gotigue," 
and  in  all  ten  organ  symphonies;  or- 
gan sonatas,  concertos  for  violin,  piano 
and  'cello,  incidental  music  to  "Conte 
d'Avril "  and  "  Les  Jacobites"; 
taught  Paris  Conservatoire  from  1890, 
professor  of  counterpoint  from  1896; 
played  organ  St.  Sulpice,  Paris; 
wrote  music  criticism  under  the  nom 
de  plume  "  AulStes  " ;  was  pupil  of 
Lemmens,  and  later  of  Fetis,  Brussels 
Conservatory,  and  at  15  organist  St. 
Frangois,  Lyons.  B.  Feb.  22,  1845, 
Lyons ;     add.   Paris. 

Wieck  (Friedrich)  taught  Schu- 
mann, whose  father-in-law  he  became 
most  unwillingly;  founded  a  library 
and  piano  factory  in  Leipsie;  was 
among  the  best  of  teachers  for  piano, 
voice,  and  theory.  B.  1785,  Pretzseh, 
near  Torgau;  d.  1873,  Losehwitz, 
near  Dresden.  Clara,  daughter  of 
FRIEDRICH,  became  the  wife  of 
ROBERT  SCHUMANN.  Marie 
played  piano  in  concert  tours,  and  at 
the  court  of  Prince  Hohenzollem; 
taught  piano  and  singing;  pupil  of 
her  father,  FRIEDRICH.  B.  Jan.  17, 
1875.  Alwin  played  violin,  St. 
Petersburg,  and  taught  piano,  Dres- 
den; pupil  of  his  father,  FRIED- 
RICH, and  of  David  for  violin.  B. 
1821,  Leipsie;    d.  1885. 

Wiedemann  (Ernest  Johann)  com- 


WIEDERHOLUNG 


730 


WIIiHELH 


posed  for,  taught,  and  played  organ. 
B.  1797,  Hohengiersdorf,  Sileaiaj  d. 
1873,  Potsdam. 

Wiederholung.  Qer.  REPE- 
TITION. 

Wiegenlied.  Qer.  Lullaby,  or  a 
cradle  song. 

Wiener  (Wilhelm)  played  violin; 
pupil  Prague  Conservatory.  B.  1838, 
Prague. 

Wieniawski  (Henri)  composed  airs 
from  Faust,  Russian  fantasia,  a  set  of 
studies,  two  concertos  and  much  other 
music  for  violin;  played  violin  with 
distinguished  success,  touring  Europe 
imtil  1860,  when  he  settled  in  St. 
Petersburg  for  12  years  as  solo  vio- 
linist to  the  Czar,  then  touring  the 
United  States  and  Europe  with  Rubin- 
stein; and  in  1874  becoming  successor 
to  Vieuxtempa  at  the  Brussels  Con- 
servatory; pupil  of  the  Paris  Conser- 
vatoire under  Massart,  where  he  won 
first  prize  at  11.  B.  July  10,  1835, 
Lublin,  Poland;  d.  April  2,  1880, 
Odessa. 

Wie  oben.     Oer.    "As  above." 

Wieprecht  (Priedrich.  Wilhelm) 
played  violin  and  trombone,  and  in- 
vented a  bass  tuba,  1835.  B.  1802, 
Aschersleben ;    d.  1872,  Berlin. 

Wiggins  ("  Blind  Tom.  ")  was  a 
blind  negro  idiot  who  possessed  a 
faculty  of  imitating  performances  on 
the  piano  so  remarkable  as  to  have 
caused  all  sorts  of  exaggerated  ac- 
counts of  his  skill  to  be  readily  re- 
ceived by  non-musical  people.  It  was 
said,  for  example,  that  his  repertoire 
included  "  sonatas  of  Beethoven, 
Mendelssohn  and  Bach,"  and  that  he 
had  played  the  "  Sonata  Pathetique  " 
without  the  omission  of  a  single  note, 
while  he  was  accredited  with  the  com- 
position of  "  The  Rain  Storm  "  and 
"  The  Battle  of  Manassas,"  both  de- 
scriptive pieces.  "  Blind  Tom  "  was 
exhibited  and  played  in  public  for 
about  forty  years,  earning  a  sum  esti- 
mated at  $200,000,  which  may  easily 
have  been  more.  That  a  blind  and 
idiotic  negro  should  have  been  able  to 
play  the  piano  at  all  is  sufficiently 
remarkable,  and  it  should  be  said  once 
and  for  all  that  he  was  utterly  incap- 
able of  performing  any  classic  sonata. 


or  any  masterpiece  in  any  style  in  its 
entirety,  although  he  might  have  "exe- 
cuted" or  "rendered"  or  "butchered" 
such  fragments  as  remained  in  his 
memory,  and,  that  the  two  descriptive 
pieces  named  were  wholly  unworthy  of 
serious  consideration  as  music.  He 
was  able,  however,  to  distinguish  any 
note  struck  on  the  piano,  and  to  re- 
peat, within  his  limitations,  any  sim- 
ple music  which  might  be  played  for 
him.  Son  of  slaves  on  the  plantation 
of  Thomas  Greene  Bethune,  near  Co- 
lumbus, Ga.,  he  was  allowed  access  to 
the  piano  from  his  fourth  year,  and 
was  coached  from  time  to  time  by 
professional  musicians.  He  loved  the 
applause  of  the  audiences  before  which 
he  appeared,  and  always  clapped  his 
hands  himself,  grinning  and  bowing 
as  he  did  so.  During  his  entire  life 
he  was  in  the  custody  of  the  Bethune 
family,  who  were  his  trustees,  and  the 
beneficiaries  of  his  tours.  B.  May 
25,  1849;  d.  June  13,  1908,  Hoboken, 
N.J. 

Wihan  (Hanus)  played  'cello  in 
the  BOHEMIAN  QUARTETTE. 

Wihtol  (Joseph)  composed  "Dra- 
matic" overture,  the  symphonic  pic- 
ture "La  fgte  Ligho";  taught 
harmony  from  1886,  St.  Petersburg 
Conservatory,  where  he  had  been  a 
pupil  under  Rimsky-Korsakoflf.  B. 
1863,  Wolmar,  Livonia;  add.  St. 
Petersburg. 

Wilbye  (John)  composed  a  fine 
series  of  madrigals,  including  one  in 
"The  Triumphes  of  Oriana,"  all  re- 
printed by  the  Musical  Antiquarian 
Society  of  London;  Lessons  for  Lute; 
was  the  foremost  of  madrigal  com- 
posers, and  probably  lutenist  and 
teacher  in  London.  Publications  dated 
1598-1614. 

Wild  (Franz)  sang  ten.  in  Vienna 
operas  with  much  success,  developing 
later  into  a  bar.;  was  great  admirer 
of  Beethoven,  who  composed  "An  die 
HoflFnung"  for  him;  in  early  life 
member  of  the  famous  Esterhazy 
chapel.  B.  1792,  Hollabrunn;  d.  1860, 
Oberdobling,   near   Vienna. 

Wilhelm  (Guillaume  Louis  Boc- 
quillon)  founded  the  ORPHEON- 
ISTES,  popular  singing  societies  which 


WILHELU 


731 


VrihJMANTSI 


soon  spread  throughout  France,  and 
into  Belgium  and  Spain ;  wrote  many 
instruction  book's  for  them,  based  on 
a  ''  fixed  Do "  system  of  solmisation 
which  have  since  been  superseded,  but 
accomplished  a  splendid  work  in  dif- 
fusing a  knowledge  of  and  love  for 
part-singing;  was  director  general  of 
music  in  the  Paris  schools  from  1842; 
pupil  of  the  Paris  Conservatoire.  B. 
Dec.  18,  1771,  Paris;    d.  Paris. 

Wilhelm  (Karl)  composed  "Der 
WACHT  AM  RHEIN";  became  royal 
Prussian  Musikdirektor.  B.  1815, 
Schmalkalden ;    d.   1875. 

Wilhelmj  (Auguste  Emil  Fried- 
rich  Daniel  Victor)  founded  a  Hoch- 
schule  fur  violin  at  Biebrich,  1886, 
on  which  instrument  he  was  one  of 
the  greatest  of  recent  masters;  debut 
at  eight,  touring  the  world  1865-75, 
when  he  became  concertmeister  of  the 
Bayreuth  orchestra;  taught  Guildhall 
School  of  Music,  London,  from  1894; 
composed  violin  works,  and  Hochzeits 
cantate.  Pupil  of  Fischer  at  Wiesba- 
den, his  talent  was  recognized  by 
Liszt,  who  recommended  him  to  David 
as  a  young  Paganini,  and  while  in  the 
Leipsic  Conservatory  he  studied  with 
Hauptmann,  Richter,  and  later  with 
Raflr.    B.  Sept.  21,  1845. 

Wilke  (Christian  Friedrich  Gott- 
lieb) played  or^an,  and  headed  gov- 
ernment commission  on  organ  building. 
B.  1769,  Spandai;  d.  1842,  Treuen- 
brietzen. 

Willaert  (Adrian)  founded  the  so- 
ealled  Venetian  school  of  composition; 
having  moulded  the  tastes  of  the  pub- 
lic by  his  own  compositions,  by  the 
superb  music  at  San  Marco  Cathedral, 
where  he  was  chapelmaster  and  em- 
ployed a  double  choir  with  two  organs 
in  the  services,  and  by  the  influence 
of  his  many  pupils  among  the  most 
important  of  whom  were  Zarlino  and 
Cipriano  de  Rore.  Pupil  either  of 
Mouton  or  Josquin,  in  Paris,  he  re- 
turned for  a  time  to  his  native  Flan- 
ders, but  soon  made  a  tour  of  Italy, 
where  he  heard  one  of  his  motets 
sung  as  the  work  of  Josquin;  then  be- 
came chapelmaster  for  a  time  to  the 
King  of  Hungary  and  Bohemia,  but 
settled    in    Venice,    1527.     There    he 


taught,  composed  madrigals,  motets, 
psalms,  hymns,  and  soon  won  recog- 
nition as  the .  leading  master  of  his 
generation.  Known  in  Italy  as  Adri- 
ano  Vigliar,  Vuigliart,  or  Wigliardus, 
B.  about  1480,  probably  at  Bruges;  d. 
1562,  Venice. 

Williams  (Anna)  sang  sop.  at  the 
principal  English  Festivals;  pupil 
of  H.  C.  Deacon  and  J.  B.  Welch; 
debut.  National  Prize  Meeting,  Lon- 
don, 1872,  where  she  won  first  prize. 

Williams  (Anne)  sang  sop.  with 
success  in  oratorio,  pupil  of  Cooke 
and  Negri;  retired  on  her  marriage 
to  Albert  Price,  of  Gloucester,  1850. 
B.  1818,  London.  Hartha  sang  con. 
rSles  with  her  sister  ANNE;  pupil 
of  the  same  master.  B.  1821;  m.  Mr. 
Lockey,  and  retired,  1865. 

Williams  (Oeorge  Ebenezer)  com- 
posed church  music  and  piano  text- 
books; played  organ  Westminster 
Abbey;  in  boyhood  chorister  St.  Paul's. 
B.  1784;  d.  April  17,  1819. 

Willing  (Christopher)  sang  Erig. 
Chapel  Royal.  B.  1804;  d.  1840. 
Christopher  Edwin  played  organ  in 
London  churches,  taught ;  was  pupil  of 
his  father  CHRISTOPHER,  and  in 
boyhood  chorister  Westminster  Ab- 
bey.   B.  Feb.  28,  1830,  London. 

Willis  (Henry)  made  improve- 
ments in  organ  construction,  and  many 
organs  for  English  churches.  B. 
April  27,  1821;    retired  after  1886. 

Willmann  (Kaximilian)  played 
'cello  in  the  Electoral  orchestra  at 
Bonn,  where  he  was  Beethoven's  col- 
league. B.  Forchtenberg;  d.  1812,  Vi- 
enna. TULiae.  Huber- Willmann  sang 
in  opera  with  fair  success;  was  piano 
pupil  of  Mozart.  Daughter  of  MAXI- 
MILIAN; d.  after  1804.  IHagdalena 
sang  sop.  in  opera,  was  admired  by 
the  Viennese  for  her  beauty  as  well  as 
for  her  voice,  and  is  said  to  have  re- 
ceived an  offer  of  marriage  from  Bee- 
thoven. Was  prima  donna  at  Bonn, 
1788.  Daughter  of  MAXIMILIAN;  d. 
I80I.  Karl  played  violin,  but  dis- 
appeared after  the  French  occupa- 
tion of  Bonn;  son  of  MAXIMILIAN. 
Mme.  Tribolet-Willmann  sang  in 
opera  in  Vienna.  Daughter  of  French 
professor    at    Bonn;    became    second 


WILIiMANlT 


733 


WISrOaBADSKY 


wife  of  MAXIMILIAN;  d.  1812. 
Caroline  played  piano  and  sang 
sop.  in  opera,  debut,  1811;  retired 
after  1825;  daughter'  and  pupil  of 
MAXIMILIAN  and  his  second  wife. 

Wlllmann  (Thomas)  played  clari- 
net in  the  London  Opera  from  1816; 
was  bandmaster  of  the  Grenadier 
Guard.    D.  Nov.  28,  1840. 

Willmers  (Eeinrlch  Kudolph) 
composed  for  and  played  piano;  pupil 
of  Hummel  and  Schneider;  B.  1821, 
Berlin;    d.  insane,  1878,  Vienna. 

Will^  (John  Thomas)  played  vio- 
lin; gave  chamber  concerts  in  Lon- 
don; pupil  of  Spagnoletto.  B.  1812, 
London;  d.  Aug.  8,  1885,  London. 

Wilm,  von  (ITicolai)  composed  a 
string  sextet,  male  choruses,  sonatas 
for  'cello  and  for  violin;  taught; 
conducted  in  Riga,  St.  Petersburg, 
Dresden,  Wiesbaden;  pupil  Leipsio 
Conservatory.  B.  Mar.  4,  1834,  Riga; 
add.  Wiesbaden. 

Wilsing  (Daniel  Friedrich  Ed- 
uard)  composed  the  oratorio  "  Jesus 
Christus,"  1889,  Bonn;  a  16-part  De 
Profundus,  which  won  the  gold  medal 
for  art,  Berlin;  sonata  for  piano; 
played  organ  in  Wesel  and  Berlin.  B. 
Oct.  21,  1809,  near  Dortmund. 

Wilson  (John)  gave  entertainments 
of  Scottish  music  which  became  highly 
popular  from  1841;  sang  in  London 
opera;  toured  America  with  the  Se- 
guins,  1838;  pupil  of  Finlay  Dun. 
B.  1801,  Edinburgh;  d.  July  8,  1849, 
Quebec. 

Wilson  (Mary  Ann).    WELSH. 

Wilt  (Marie)  sang  sop.  in  opera, 
debut  as  "  Donna  Anna,"  Gratz,  1865, 
and  excelling  as  "  Norma."  B.  1835, 
Vienna;    retired  after  1884. 

Wind  Chest.  That  part  of  an 
ORGAN'S  mechanism  through  which 
the  air  is  admitted  to  the  pipes  of  a 
register. 

Windenstein  (Hans  Wilhelm 
Gustav)  composed  suite  for  orchestra, 
Trauermarsch,  valse  caprice;  con- 
ducted at  Numberg,  and  in  1896  the 
Philharmonic  concerts  at  Munich,  then 
founded  his  own  orchestra ;  became 
conductor  of  the  Leipsic  Singakad- 
emie,  1898;  pupil  of  the  Leipsic 
Conservatory,    then    violinist   at   the 


Grewandhaus,  and  later  concertmeister 
of  the  Derwies  orchestra  in  Nice.  B. 
Oct.  29,   1856;    add.  Leipsic. 

Wind  Gauge.  ORGAN  device  to 
indicate  the  pressure. 

Windings  (August  Henrik)  com- 
posed concertos  and  sonatas  for  violin ; 
taught  and  directed  Copenhagen  Con- 
servatory; pupil  of  Reinecke,  Drey- 
schoek,  Gade.  B.  Mar.  24,  1825, 
Taaro,  Denmark. 

Wind  Instrument.  Musical  in- 
strument whose  sounds  are  produced 
by  the  breath  of  the  player,  or  by 
means  of  a  pair  of  bellows. 

Windlade.     Ger.    WIND  CHEST. 

Wind  Trunk.  ORGAN  conduit 
which  conveys  wind  to  the  wind  chest. 

Wingham  (Thomas)  composed 
four  symphonies.  Mass  in  E  flat,  four 
overtures;  taught  piano.  Royal  Aca- 
demy of  Music,  where  he  had  been  a 
pupil;  church  organist  at  10.  B. 
Jan.  5,  1846,  London;    d.  1871. 

Winkel  (Dietrik  mkolaus)  in- 
vented the  M;ETR0N0ME  which  was 
appropriated  as  his  own  discovery  by 
MAELZBL.  B.  1780,  Amsterdam;  d. 
1826. 

Winkelmann  (Hermann)  sang 
ten.  in  opera ;  created  "  Parsifal "  in 
Bayreuth,  1880;  debut  1875,  and 
thereafter  long  first  ten.  at  Vienna 
Opera.  B.  1845,  Brunswick;  pupil 
of  Koch  in  Hanover. 

Winn  (William)  composed  the 
prize  glee  "  Go  Rose " ;  sang,  Eng. 
Chapel  Royal;  pupil  of  Smart  and 
Schira.  B.  1828,  Yorkshire,  Eng. 
Florence  sang  con.  in  London  con- 
certs; daughter  and  pupil  of  WIL- 
LIAM. 

Winner  (Septimus)  composed 
"  Listen  to  the  Mocldng  Bird,"  "  Give 
us  back  our  old  commander,"  and  other 
once  popular  songs;  wrote  200  in- 
struction books,  and  composed  or  ar- 
ranged in  all  more  than  2,000  pieces; 
founded  the  Musical  Fund  Society. 
B.  1826,  Philadelphia;  d.  Nov.  23, 
1902. 

Winpgradsky  (Alexander)  con- 
ducted programmes  of  Russian  music 
in  Paris;  directed  the  imperial  mu- 
sic schools  at  Saratov  and  Kiev; 
pupil  St.  Petersburg  Conservatory  un- 


WINTER 
B.    1854,   Kiev; 


der  Soloviev. 
Kiev. 

Winter,     von    (Peter)    composed 
"nie   s«T,i=„v,<^''   and   in  all   9   sym 


733  WOLLE 

add.    fective    tones    which    are    found    in 
nearly  all  stringed  instruments,  owing 


'Die   Schlacht' 


to  some  slight  inequality  of  the  wood 
or  to  a  wrong  position  of  the  SOUND- 


phonies;  "Armida,"  1778,  Munich,  POST. 
"Sanger  imd  Schneider,"  Munich,  Wolf  (Hugo)  composed  "Die 
1820,  and  in  all  38  operas,  26  masses,  Christnacht "  and  "  Der  Feuerreiter  " 
seven  cantatas  and  much  other  music;  for  orchestra  and  chorus,  the  success- 
played  violin;  conducted  the  court  ful  comic  opera  "Der  Corregidor," 
opera  in  Munich;  for  a  time  pupil  of  Mannheim,  1896;  more  than  500 
Abb6  Vogler,  but  largely  self  taught,  songs,  many  of  which  are  strikingly 
B.  1754,  Munich;  d.  1825.  beautiful;  pupil  of  his  father,  and 
Wippern  (Iiouise  Harriers)  sang  later  of  the  Vienna  Conservatory.  B. 
sop.  in  opera,  debut,  1857,  Berlin,  as  Mar.  13,  1860,  Vienna;  d.  1902. 
Agathe  in  "  Freischutz,"  and  there-  Wolf  or  Woefl  (Joseph)  played 
after  becoming  a  favourite  singer  in  piano  with  such  remarkable  skill  that 


lighter  rdles.  B.  1835  or  1837,  Hilde 
sheim  or  Buckeburg;  d.  Oct.  5,  1878, 
Gorbersdorf,  Silesia. 

Wirbel.      Qer.     Peg   of   a   violin; 
stopper  of  a  closed  ORGAN  pipe. 


in  his  contest  with  Beethoven,  at 
which  both  extemporized,  honours  were 
even;  showed  his  respect  for  his  only 
rival  by  dedicating  three  piano  sonatas 
to  him;    was  the  complete  master  of 


Wirbelstock.      Oer.     Sound  board    his    instrument,    and    possessed   such 


into  which  pegs  are  fixed. 

Wirbeltanz.  Oer.  Whirling  or  cir- 
cular dance. 

Wise  (Michael)  composed  anthems, 
catches;    played  organ  Salisbury  Ca 


large  hands  that  few  musicians  have 
since  been  able  to  cover  the  keys  nec- 
essary to  produce  certain  startling 
eflFeete  for  which  he  was  noted;  was 
the  teacher  of  Cipriani  Potter;    com- 


thedral ;   later  became  a  Gentleman  of  posed  many   operas,   including  "  Der 

the  Eng.  Chapel  Royal,  where  he  had  Hollenberg,"  to  book  by  Sehikaneder, 

been  a  chorister  in  boyhood.    B.  1648,  Vienna,  1795,  the  ballets  "  La  Surprise 

Wiltshire ;    d.  from  injuries  received  de  Diane  "  and  "  Alzire,"  produced  in 


in  street  fight,  1687. 


London;     more   than   100   works   for 


Witherspoon  (Herbert)  sang  bass  piano,  all  of  which  have  been  shelved; 

in  concerts  and  oratorios,  and  in  early  pupil  of  Leopold  Mozart  and  Michael 

life,   with   the    Castle   Square   Opera  Haydn.     B.  1772,  Salzburg;    d.  1812, 

Company ;   Metropolitan  Opera  House,  London. 

New  York,   1908-9;    graduated  Yale  WolfE  (Auguste  Desire  Bernard) 

University,  then  pupil  of  Hall,  New  founded  the  Paris  piano-making  house 

York,   and   Dubulle,   Paris.     B.   New  of  Pleyel,  WolflF  et  Cie;    was  himself 

Haven,  Conn. ;  add.  New  York.  a  gifted  pianist,  teacher  and  composer. 

Witteczek,  von  (Joseph)  collected  B.  1821,  Paris;   d.  1887. 


the    important    Schubert    MS.    which 
he  presented  to   Spaun  on  condition 


Wolff     (Hermann)     founded    the 
'  Concert  Direction  Wolff  "  in  Berlin ; 


that  it  be  finally  turned  over  to  the  composed  songs  and  piano  pieces;  was 
Gesellschaft  der  Musikfreunde,  and  editor  and  manager.  B.  1845,  Cologne; 
which    is    generally    referred    to    as    d.  Feb.  3,  1902,  Berlin. 


Spaun's     collection ;      was 
councillor.       B.     Vienna; 
Vienna. 
Wixom  (Emma).     NEVADA, 


imperial       Wolfsohn  (Henry)  managed  con- 
d.     1859,    certs  and  tours  of  foreign  artists  in 
all  parts  of  America,  making  his  head- 
quarters   in    New    York.      B.    1845, 


Wolf.     The  scream  or  howl  emitted  Hesse-Darmstadt,  Germany;  add.  New 

by   certain    combinations    played    on  York. 

organs  tuned  in  unequal  TEMPERA-  Wolle  (John  Frederick)  organized 

MENT,  owing  to  certain  defects  in  the  and  conducted  the  Bach  Choir,  com- 

scales  which  inevitably  result  in  that  posed    of    Bethlehem    (Pa.)    MORA- 

system  or  mean  tuning;    certain  de-  VIANS;    became  professor  of  music 


WOLZOOEN 


734 


WOTTON 


and  conductor  of  symphony  concerts 
in  the  Greek  Theatre  of  the  University 
of  CALIFORNIA,  1905.  Beginning 
with  the  Bach  C  minor  Mass,  1900, 
the  Bethlehem  organization  gave  a 
three  days'  festival  in  1901,  at  which 
the  Christmas  Oratorio,  St.  Matthew 
Passion  and  C  minor  Mass  were  sung 
in  their  entirety;  and  in  1903  a  six 
day  festival;  a  nine  day  Bach  cycle 
and  a  Christmas  festival,  1904;  a 
Lenten  festival,  1905,  and  an  Easter 
festival,  1905.  B.  April  4,  1863,  Beth- 
lehem, Pa.;    add.  Berkeley,  Cal. 

Wolzogen.  und  ireuhaus,  von 
(Ereiherr  Carl  August  Alfred)  wrote 
on  music.  B.  1833,  Frankfort;  d. 
1883,  San  Eemo.  Ereiherr  Hans 
Paul  edited  the  "  Baireuther  Blatter  " 
for  Wagner.  B.  1848,  Potsdam;  son 
of  FREIHERR  0.  A.  A. 

Wood  (Henry  J.)  composed  the 
oratorio  "  Dorothea,"  1889,  masses, 
songs,  operettas;  wrote  on  singing; 
conducted  Queen's  Hall  Promenade 
Concerts,  London,  the  Carl  Rosa  Opera 
Company,  the  Marie  Roze  Opera  Com- 
pany, and  also  many  societies;  played 
organ,  first  engagement  at  10;  pupil 
of  his  father,  and  later  of.  Prout  at 
the  Royal  Academy  of  Music.  B. 
1869,  London;    add.  London. 

Wood  (Mary  Ann)  PATON. 

Wood  (Mary  Knight)  composed 
popular  songs ;  played  piano ;  pupil  of 
Lang,  Parsons,  Cornell,  and  Huss.  B. 
April  7,  1857,  Easthampton,  Mass.; 
add.  New  York. 

Woodman  (Baymond  Hunting- 
ton) composed  piano  and  organ  pieces ; 
taught.  Metropolitan  College  of  Music, 
New  York;  played  organ  from  1889, 
First  Pres.  Church,  Brooklyn,  New 
York;  was  music  editor  New  York 
"  Evangelist " ;  pupil  at  first  of  his 
father,  an  organist  at  Flushing,  L.  I., 
then  of  Dudley  Buck,  and  later  of 
C«sar  Franek.  B.  Jan.  18,  1861 ;  add. 
New  York. 

Wood  stops.  ORGAN  stops  the 
pipes  of  which  are  of  wood. 

Woodwind  or  Woodwind-band 
consists  of  the  flutes,  oboes,  clarinets, 
bassoons,  and  like  instruments  in  an 
orchestra. 

Woolf  (Benjamin  Edward)  com- 


posed "Pounce  &  Co.,"  Boston,  1883; 
"Westward  Ho!"  Boston,  1894,  and 
other  light  operas;  the  overture  "Com- 
edy of  Errors " ;  conducted  in  the- 
atres; wrote  music  criticism  for  Bos- 
ton "  Globe  "  and  "  Saturday  Evening 
Gazette " ;  pupil  of  G.  R.  Bristow. 
B.  1836,  London;  d.  1901,  Boston, 
Mass. 

Worgan  (James)  played  organ 
London  churches,  and  Vauxhall  Gar- 
dens, 1737-51.  D.  1753.  Dr.  John 
composed  the  oratorios  "  Hannah," 
"  Manasseh,"  songs,  anthems,  harpsi- 
chord and  organ  pieces;  played  or- 
gan London  churches;  succeeded  his 
brother,  JAMES,  whose  pupil  he  was, 
as  organist  Vauxhall  Gardens.  B. 
1724;   d.  Aug.  24,  1794,  London. 

Work  (Henry  Clay)  composed 
"Marching  Through  Georgia,"  "Grand- 
father's Clock,"  and  other  songs.  B. 
1832,  Middletown,  Conn.;  d.  1884, 
Hartford,  Conn. 

Wormser  (Andrg  Alphonse  Tous- 
saint)  composed  the  highly  successful 
pantomime  "L'enfant  prodigue,"  pro- 
duced at  Paris,  1890,  and  subsequently 
in  London  and  New  York;  the  panto- 
mime "L'ideal,"  London,  1896;  the 
ballet  "L'etoile,"  Paris,  1897;  "Adele 
de  Ponthieu,"  "  Rivoli,"  and  other 
comic  operas;  pupil  of  Marmontel  at 
Paris  Conservatoire,  where  he  cap- 
tured first  prize  for  piano  playing, 
and  in  1875,  the  prix  de  Rome.  B. 
Nov.  1,  1851,  Paris;    add.  Paris. 

Wornum  (Robert)  sold  music  in 
London.  D.  1815.  Bobert  invented 
the  upright  PIANO  and  made  pianos 
in  London.  B.  1780;  son  of  ROBERT; 
d.  1852.  The  business  was  continued 
by  A.  N.  Wornum,  grandson  of  the 
second  ROBERT,  as  "  Robert  Wornum 
&  Sons." 

Worsch,  von  (Felix)  composed 
"  Wikingerfahrt,"  Nurnberg,  1896,  and 
other  successful  operettas;  symphonic 
prologue  to  the  "Divina  Commedia," 
four  choral  works  with  orchestra ;  con- 
ducted and  played  organ.  B.  Oct.  8, 
1860,  Silesia;    add.  Altona. 

Wotton  (William)  built  organs  at 
Oxford,  1487-89. 

Wotton  (William  Bale)  played 
bassoon  and  saxophone,  Life  Guards 


WOUTERS 


735 


WYNS 


band  and  important  London  orches- 
tras; taught,  Eoyal  College  of  Music. 
B.  Sept.  6,  1832,  Torquay. 

Wouters  (Frangols  Adolphe)  com- 
posed a  Te  Deum,  overture,  three 
masses;  played  organ;  conducted; 
pupil,  and  later  piano  professor,  Paris 
Conservatoire.  B.  May  28,  1841, 
Brussels. 

Woycke  (Eugen  Adalbert)  com- 
posed piano  sonatas;  taught,  Edin- 
burgh; pupil  Leipsic  Conservatory. 
B.  June  19,  1843,  Dantzio.  Emily 
Hamilton  Srechsler  played  violin, 
debut  at  11;  m.  EUGEN  ADAL- 
BERT, 1871.  Victor  played  violin; 
pupil  of  his  mother,  E.  H.  D. ;  taught. 
National  Conservatory  of  Music,  New 
York.  B.  1872,  Edinburgh;  add.  New 
York. 

Wranizky  (Paul)  composed  the 
fairy  opera  "  Oberon,"  much  forgotten 
dramatic  music,  12  symphonies,  cham- 
ber music;  played  violin  admirably, 
and  was  eoncertmeister  for  Haydn  at 
the  first  performance  of  The  CREA- 
TION; conducted  at  the  imperial 
Vienna  theatres.  B.  Dec.  30,  1756, 
Neurusch,  Moravia;  d.  Sept.  26,  1808, 
Vienna.  Anton  composed;  conducted; 
played  violin;  pupil  of  his  brother 
PAUL.     B.  1761;    d.  1819,  Vienna. 

Wrest.     Old  Eng.    Tuning  hammer. 

Wrightoil  (William  Thomas)  com- 
posed popular  songs.  B.  1816,  Tun- 
bridge  Wells;    d.  1880. 

Wuerst  (Biicbard  Ferdinand)  com- 
posed operas,  symphonies,  chamber 
music;  wrote  criticism  for  Berlin 
newspapers;  taught,  Kullak  Academy; 
pupil  of  Hubert,  Ries,  David,  and 
Mendelssohn.  B.  Feb.  22,  1824,  Ber- 
lin; d.  Oct.  9,  1881,  Berlin. 

Wiillner  (Franz)  composed  the 
cantata  with  orchestra  "  Heinrich  der 
Finkler,"  masses,  chamber  music, 
Psalm  cxxv  with  orchestra,  Stabat 
Mater,  Miserere,  part-songs;  adapted 
von  Weber's  "Oberon"  for  grand 
opera;  conducted  the  first  perform- 
ances of  "Rheingold"  and  "Wal- 
'ktlre  "  as  von  Bfllow's  successor  at  the 
Munich  court  theatre,  1869,  and  was 
made  court  chapelmaster  in  1870;  be^' 
came  court  chapelmaster  and  director 
of   the    Dresden    Conservatory,    1877, 


and  in  1885  succeeded  Hiller  as  di- 
rector of  the  Cologne  Conservatory; 
in  early  life  made  tours  as  piano  vir- 
tuoso, then  conducted  Aix-la-Chapelle 
and  the  Lower  Rhine  Festivals,  1864r- 
82-86-90;  the  Berlin  Philharmonic 
Society ;  was  Royal  Professor,  Prussia, 
and  Dr.  Phil.,  Leipsic;  pupil  of  Ar- 
nold and  Schindler.  B.  Jan.  28,  1832, 
Munster;  d.  Sept.  8,  1902,  Cologne. 
Iiudwig  gave  recitals  of  voice  and 
piano,  touring  America,  1905-6 ;  sang 
ten.;  noted  for  Schubert  interpreta- 
tions, and  as  Tannhauser  in  opera; 
directed  church  choirs;  wrote  criti- 
cism, Cologne  "  Zeitung  " ;  pupil  of 
his  father,  FRANZ,  at  the  Cologne 
Conservatory;  Dr.  Phil.  B.  Aug.  19, 
1858;   add.  Coldgne. 

Wiinderlicb.  (Johann  Oeorg)  com- 
posed for  and  played  flute;  taught 
that  instrument,  Paris  Conservatoire. 
B.  1755,  Bayreuth;    d.  1819,  Paris. 

Wurde.  Oer.  "  Dignity,"  as  mit 
Einfalt  und  Wurde,  with  simplicity 
and  dignity. 

Warm  (Karie)  played  piano,  and 
composed  concerto  and  sonatas  for 
that  instrument ;  Mendelssohn  Scholar- 
ship, 1884,  Royal  Academy  of  Music. 
B.  May  18,  1860,  Southampton,  Eng.; 
add.  London. 

Wydow  (Robert)  was  music  master 
to  Edward  IV  of  England;  priest  and 
poet,  Bac.  Mus.,  Oxford.  B.  Essex, 
also  known  as  Vidduus,  Wedow,  and 
Widows ;    d.  Oct.  4,  1505. 

Wylde  (Henry)  played  piano,  or- 
gan; taught  in  London.  B.  1822, 
Hertfordshire,  Eng. ;   d.  1890,  London. 

Wynne  (Sarah.  Edith)  sang  sop.  in 
opera,  but  was  better  known  as  con- 
cert and  oratorio  singer;  debut,  1862, 
London,  toured  America,  1871-72; 
taught  Royal  Academy  of  Music, 
where  she  had  been  Westmoreland 
Scholar.  B.  Mar.  11,  1842,  Holywell, 
Eng.;    m.  Aviet  Agabeg,  1875. 

Wyns  (Charlotte  Feliole)  sang  mez. 
sop.  in  opera ;  debut  as  "  Mignon," 
Paris  Op6ra  Comique,  later  Theatre 
de  la  Monnaie,  Brussels ;  returning  to 
Op§ra  Comique,  1899;  prize  pupil 
Paris  Conservatdire.  B.  Paris,  Jan. 
11,  1868;  m.  E.  de  Bruijn,  1899;  add. 
Paris. 


XANOBFHICA 


736 


YV 


Xanorphica.  Key  violin,  an  in- 
strument similar  to  the  tetrachordon, 
invented  by  Rollig,  1761-1804,  the 
sounds  of  which  were  produced  by 
bows  set  in  motion  by  a  pedal  and 
acted  upon  by  keys. 

Xanrof  (Xieon  Fourneau)  composed 
popular  songs,  light  dramatic  pieces; 
wrote  criticism,  though  a  lawyer  by 
profession.  B.  Dec.  9,  1867;  add. 
Paris. 

Xylobarmouica,  Xylosistrum. 
Harmonicon  composed  of  graduated 
blocks  of  wood  and  struck  with  ham- 
mers acted  upon  by  keys,  made  by 
Rollig,  1761-1804,  and  Uthe,  1810. 

Xylophone.  Instrument  of  the  dul- 
cimer family.  Sticks  of  wood  chosen 
for  sonorous  quality,  and  of  assorted 
lengths,  so  as  to  give  the  chromatic 
scale,  are  placed  on  a  stand,  and  are 
played  by  striking  with  wooden  mal- 
lets, one  being  held  in  each  hand. 

Xyndas  (SpiTidion)  composed  suc- 
cessful ballad  operas,  B.  1812,  Corfu; 
d.  1896,  Athens. 


Yale  University,  located  at  New 
Haven,  Conn.,  possesses  a  department 
of  music  which  was  presided  over  in 
1908  by  Br.  Horatio  PARKER,  who 
had  been  the  professor  of  music  from 
1894. 

Yang  Kin.  Chinese  instrument  fur- 
nished with  brass  strings  which  are 
struck  with  two  little  hammers,  like 
a  DULCIMER. 

Yankee  Doodle  was  probably  com- 
posed by  an  unknown  Englishman 
about  1750.  In  1758  the  Boston 
"  Journal  of  the  Times  "  speaks  of  its 
having  been  played  by  the  bands  of 
the  British  fleet  anchored  off  Port 
William  (the  present  Aquarium  and 
old  Castle  Garden,  Battery  Park,  New 
York  City),  and  the  earliest  American 
words  appear  to  have  been  sung  1755. 
It  first  assumed  national  importance 
as  a  satirical  song  at  the  expense  of 
Washington,  but  the  authorship  of 
the  various  verses  is  unknown. 

Yaw  (Ellen  Beach)  sang  sop.  in 
concerts,  touring  Europe  and  America, 
possessed  range  up  to  o"".  B.  Cali- 
fornia;   add.  New  York. 


Yo.     Indian  FLUTE. 

Yonge.    YOUNG. 

York  Festivals  were  held  annually 
from  1791  to  1823,  then  abandoned, 
but  were'  continued  irregularly  from 
1833.  "The  MESSIAH"  and  other 
sacred  works  were  the  most  important 
performed,  and  the  concerts  took  place 
.  in  the  Minster. 

Yost  (nichel)  played  clarinet ;  com- 
posed.   B.  1754,  Paris;    d.  1786. 

Young  (Nicholas)  published  a  col- 
lection of  Italian  madrigals,  London, 
1597,  which  he  called  "  Musica  Trans- 
alpina,"  and  which  probably  helped 
to  form  the  tastes  of  his  countrymen 
in  that  class  of  music;  sang,  St. 
Paul's  Cathedral.     D.  1619. 

Young  (Thomas)  sang  alto,  Can- 
terbury Cathedral  and  Westminster 
Abbey,  and  at  important  English  con- 
certs. B.  1809,  Canterbury;  d.  Aug. 
12,  1872,  Walworth. 

Yradier  (Sebastian)  composed  pop- 
ular songs  in  Spanish.  B.  1865, 
Vittoria. 

Yriarte,  de  (Don  Tomas)  wrote  a 
five  canto  poem  dealing  with  music  in 
many  aspects,  which  may  be  read  in 
French  or  English  versions.  The  orig- 
inal Spanish  edition  was  published 
1779.  B.  about  1750,  Teneriffe ;  d. 
near  Cadiz,  1791. 

Ys^e  (Eugene)  played  violin,  tour- 
ing the  world  as  virtuoso  with  great 
success  from  1886;  founded  the  Ysaye 
Quartette  in  Brussels,  where  he  be- 
came head  of  the  violin  department  of 
the  Conservatory,  1886;  composed 
Poem  €l6giaque  for  violin  with  or- 
chestra, variations  on  a  theme  by 
Paganini,  six  concertos.  Son  of  a 
violinist  and  conductor  who  was  his 
first  teacher,  Ysaye  next  became  a 
pupil  of  the  Ligge  Conservatory,  and 
of  Wieniawski  and  Vieuxtemps,  and 
was  next  sent  to  Paris  to  study  at 
the  expense  of  the  Belgian  govern- 
ment, and,  after  concerts  in  various 
cities,  was  for  a  time  concertmeister 
of  the  Bilse  orchestra  in  Berlin.  B. 
July  16,  1858;    add.  Brussels. 

Yu.  Interval  of  the  Chinese  scale. 
The  ancient  Chinese  divided  the  scale 
into  12  equal  parts,  like  the  semitones 
of  our   chromatic   scale,  which  were 


YXJ    KIN 


737 


ZAUCFOONA 


called  Lu.  Their  scale  commonly  used, 
only  had  five  notes,  called  koung, 
chang,  kio,  tche,  and  yu,  which  cor- 
responded to  our  F,  G,  A,  C,  D; 
koung  or  F  heing  considered  the  nor- 
mal key. 

Yu  Kin.  GUITAR  called  by  the 
Chinese  "  Moon  Guitar." 

Yussupoff  (Prince  Nicholas)  com- 
posed a  concerto  symphonique  for 
violin  with  orchestra,  the  programme 
symphony  "Gonzalvo  de  Cordova" 
with  obliigato  violin;  pupil  of  Vieux- 
temps.     B.  1827,  St.  Petersburg. 

Yzac.    ISAAC. 


Za.  Formerly  a  solfeggio  name  for 
B  flat. 

Zabalza  y  Olaso  (Samaso)  played 
piano;  taught,  Madrid  Conservatory; 
composed  piano  studies.  B.  1833,  Iru- 
rita,  Navarre;    d.  1894,  Madrid. 

Zacconi  (Ludovlco)  wrote  "  Prat- 
tica  di  Musica,"  etc.,  Venice,  1592,  one 
of  the  most  important  works  of  that 
century  on  theoretical  matters;  was 
chapelmaster  to  the  Benedictine  church 
in  Venice,  of  which  order  he  was  a 
priest;  then  chapelmaster  to  Arch- 
duke Charles  of  Austria  and  to  the 
court  of  Bavaria,  returning  to  Venice, 
1619.     B.  Pesaro. 

Zachau  (Friedrich  WiUxelni)  com- 
posed; played  all  instrtmients  used 
in  his  time,  excelling  on  the  organ, 
and  playi^,„tJiatv,  instrument  at  the 
Halle-* TSeKrauenkirche  from  1684; 
was  Handel's  teacher;  pupil  of  his 
father,  who  was  town  musician  at 
Leipsic.  B.  Nov.  19,  1663,  Leipsic; 
d.  1712,  Halle. 

Zahlzeit.  Oer.  Time  measure, 
time  unit. 

Zalde.  W.  A.  Mozart's  two-act  op- 
eretta, to  book  by  Schachtner,  com- 
posed about  1780,  was  never  performed. 

Zaire.  Vincenzo  Bellini's  three- 
act  opera,  to  book  by  Romani,  was 
first  performed  May  16,  1829,  Parma. 

Zajlc  (Fieri an)  played  violin; 
taught.  Stern  and  Klindworth-Schar- 
wenka  Conservatories,  Berlin;  cham- 
ber musician  to  the  Prussian  court 
and  Chevalier  of  St.  Stanislaus;  pupil 
of  Prague  Conservatory,  and  in  early 

4' 


life  concertmeister  at  Mannheim, 
Strassburg,  and  Hamburg.  B.  May  4, 
1853;    add.  Berlin. 

Zambomba.  8p.  Spanish  toy 
instrument  made  of  an  earthen 
pot  tightly  covered  at  its  open  end 
with  a  parchment,  into  which  is  in- 
serted the  stem  of  a  reed.  Rubbing 
the  reed  up  and  down  with  rough  or 
moist  fingers,  the  vibrations  are  trans- 
ferred to  the  air  enclosed  in  the  vessel 
and  a  hollow  rumbling  sound  is 
produced. 

Zampa.  L.  J.  F.  Herold's  three-act 
comic  opera,  to  book  by  Melesville, 
was  first  performed  May  3,  1831, 
Paris.  The  story  is  that  of  the 
Statue  Bride.  Zampa,  the  corsair, 
interrupts  the  wedding  of  Camilla  and 
Alfonso,  and,  having  captured  Cam- 
illa's father,  Signor  Lugano,  demands 
that  Camilla  marry  him.  Recogniz- 
ing the  likeness  of  the  statue  to  a 
maiden  whom  he  had  betrayed  many 
years  before,  Zampa  places  his  ring 
upon  the  statue's  finger,  at  which  the 
statue  raises  its  hand  in  menace.  The 
next  act  takes  place  in  the  Lugano 
villa.  Zampa  is  tracked  there  by  the 
authorities,  but  shows  a  pardon  for 
himself  and  crew,  based  on  his  promise 
to  aid  in  the  war  against  the  Turks. 
Camilla  at  last  agrees  to  marry  the 
corsair,  in  order  to  save  her  father, 
and  again  the  statue  is  seen  to  move 
in  .warning.  In  the  third  act,  it  is 
revealed  that  Zampa  is  no  ordinary 
pirate,  but  the  Count  of  Monza  and 
brother  of  Alfonso,  the  former  be- 
trothed. Vainly  does  Camilla  plead 
to  be  permitted  to  enter  a  convent. 
Zampa  has  released  her  father,  and 
demands  his  reward.  Finally  Alfonso 
and  Camilla's  father  enter  the  ora- 
tory to  rescue  Camilla  from  Zampa, 
and  there  is  sword  play  in  which  the 
corsair  is  disarmed.  Then  the  statue 
seizes  Zampa  and  carries  him  off  to 
the  lower  world.  The  overture  is  often 
played  at  concerts. 

Zampogna.  It.  BAGPIPE  used 
by  Italian  peasants,  the  name  of  which 
is  supposed  to  be  a  corruption  of  Sym- 
phonia.  A  rough-toned  reed  instru- 
ment without  a  bag  is  also  called 
Zampogna  or  Zampugna. 


ZANDT 


738 


ZATTBEBFLOTE 


Zandt,  van  (Jeanie)  sang  sop.  with 
the  Carl  Rosa  and  other  English  opera 
companies.  IVCarie  sang  sop.  in  opera, 
debut,  Turin,  1879,  as  Zerlina;  and 
later  was  a  success  in  London  as 
Cherubino  and  Amina,  and  in  1880 
as  Mignon  at  the  Paris  Opfira  Com- 
ique.  There  she  became  a  great  fa- 
vourite; but  in  1884,  having  tempor- 
arily lost  her  voice  from  nervous 
prostration,  was  subjected  to  such 
severe  criticism  that  she  withdrew. 
She  then  filled  a  successful  engagement 
at  St.  Petersburg,  but  again  meeting 
with  opposition  in  Paris,  sang  there- 
after only  in  England.  Pupil  of  her 
mother  and  of  Lamperti,  her  voice 
ranged  to  f".  B.  Oct.  8,  1861,  New 
York. 

Zaner.    ZUMMAEAH. 

Zanetta.  D.  E.  E.  Auber's  three- 
act  op^ra  comique,  to  book  by  Scribe 
and  St.  Georges,  was  first  performed 
May  18,  1840,  at  the  Paris  Op6ra 
Comique. 

Zanze.  Negro  instrument,  also 
known  as  mambira,  ibeka,  vissandschi, 
and  marimba  in  different  parts  of 
Africa.  It  is  a  wooden  box  on  which 
a  niunber  of  sonorous  slips  of  wood  or 
tongues  of  iron  are  fixed  in  such  a 
position  as  to  admit  of  their  vibrating 
on  pressing  them  down  with  the  hand 
or  a  stick. 

Zapatadeo.  8p.  Dance  in  which 
the  heel  is  struck  violently  upon  the 
ground  to  mark  the  rhythm. 

Zarabanda.     8p.    SARABANB. 

Zarate,  de  (Eleodoro  Ortiz)  com- 
posed "  La  Fioraia  de  Lugano,"  San- 
tiago de  Chili,  Nov.  10,  1895,  the  first 
opera  by  a  native  composer  to  be  per- 
formed there ;  "  Giovanna  la  Pazza," 
1886,  prize  opera,  Milan  Conservatory, 
where  he  studied  with  Saladino;  pupil 
of  the  Valparaiso  Collegio  di  San  Luis, 
where  he  won  first  government  prize, 
1885.    B.  Dec.  29,  1865,  Valparaiso. 

Zaremba,  de  (Hicolai  Ivanovich) 
taught,  St.  Petersburg  Conservatory. 
B.  1824;    d.  1879,  St.  Petersburg. 

Zarge.  Ger.  Sides  of  instruments 
of  the  violin  or  guitar  families. 

Zarlino  (OiosefEe)  wrote  "  Institu- 
tioni  armoniche "  and  other  highly 
important  theoretical  works  published 


in  Venice;  succeeded  Cipriano  de 
Rore,  with  whom  he  had  been  a  pupil 
of  WILLAERT,  as  first  chapelmaster 
of  the  San  Marco  Cathedral,  and  later 
refused  the  Bishopric  of  Chioggia, 
1582,  and  continued  his  duties  there 
at  the  earnest  request  of  the  Doge 
and  Senators  of  Venice;  composed  a 
semi-dramatic  group  of  madrigals, 
"  Orfeo,"  which  were  performed,  to- 
gether with  his  Mass,  in  honour  of  the 
visit  of  Henri  III  of  France  to  Venice ; 
Mass  commemorating  the  plague  in 
which  Titian  died,  a  Mass  celebrating 
the  Battle  of  Lepanto,  and  many  other 
once  famous  works,  all  of  which  have 
been  lost  except  a  four -part  mass  and 
some  "  Modulationes  sex  vocem  " ;  was 
a  profound  scientist,  theologian,  the 
master  of  many  tongues,  priest  of  the 
Order  of  St.  Francis.  B.  Mar.  22, 
1517,  Chioggia;  known  also  as  Zar- 
linus  Clodiensis;  d.  Feb.  14,  1590, 
Venice. 

Zart.  Qer.  Soft,  delicate,  as 
STIMMEN,  with  soft  stops. 

Zartflbte.  Q-er.  Delicate  toned 
FLUTE. 

Zartlich.  Oer.  Softly  and  deli- 
cately. 

Zarzuelas.  Sp.  Species  of  drama 
said  to  have  first  been  performed  at 
Zarzuela  in  the  time  of  Philip  IV, 
consisting  largely  of  songs  and 
dances! 

Zauberflbte.  W.  A.  Mozart's  two- 
act  opera,  to  book  by  Schickaneder, 
was  first  performed  Sept.  30,  1791, 
Vienna,  with  the  librettist  as  "  Pap- 
pageno."  The  original  cast  was: 
Sarastro,  Schickaneder,  Sr.,  bass; 
Papageno,  Schickaneder,  Jr.,  bass; 
Tamino,  Schack,  ten.;  Monostatos, 
Gorl,  ten.;  Bamboloda;  Manes;  Ko- 
nigin  der  Nacht,  Frau  Hofer,  sop.; 
Pamina,  Frl.  Gotlieb,  sop.;  Papagena, 
Frau  Gorl;  Three  Fairies.  Both  com- 
poser and  librettist  were  members  of 
the  Masonic  fraternity,  and  Masonic 
symbolism  abounds  throughout  the 
work,  which  has  retained  its  popu- 
larity until  the  present  time,  despite 
manifest  absurdities  of  plot.  The  ac- 
tion is  laid  in  "Egypt.  Tamino  is 
rescued  from  the  toils  of  a  serpent 
by  the  fairies  belonging  to  the  Queen 


ZAUBEBFLOTE 


739 


ZEIiENSKI 


of  Night.  Pamina,  daughter  of  the 
Queen  of  Night  is  being  brought  up 
by  Sarastro,  High  Priest  of  Isis,  who 
hopes  in  this  way  to  circumvent  As- 
triflamenti's  power  for  evil.  The 
Queen,  meeting  Tamino,  plans  to  ob- 
tain possession  of  her  daughter 
through  him  and  gives  him  a  magic 
flute  to  aid  him  in  the  conflict  with 
Sarastro  which  she  foresees.  Papa- 
geno  and  Papagena,  who  provide  the 
low  comedy  of  the  opera,  discuss  the 
power  of  Sarastro  and  the  priests 
in  a  dialogue,  and  finally  Fapagano, 
who  receives  a  set  of  magic  bells, 
starts  oflF  with  Tamino  for  Sarastro's 
temple.  Papagano  is  first  to  arrive 
and  frightens  away  Monostatos,  who 
had  been  annoying  Tamino.  The  bird 
catcher  then  attempts  to  rescue  Ta- 
mino, but  they  are  captured,  Tamino 
is  himself  caught,  and  all  are  brought 
before  Sarastro  for  judgment.  The 
wise  Sarastro  orders  Monostatos  a 
whipping,  and  agrees  that  if  they 
will  pass  through  a  noviciate,  Tamino 
shall  have  Pamina,  whom  he  already 
loves,  for  his  wife,  and  Papagano 
shall  be  united  to  Papagena.  The 
Queen  of  Night  reveals  herself  to 
Pamina  in  a  vision,  and  attempts  to 
dissuade  her  from  carrying  out  the 
programme  arranged  by  the  High 
Priest  but  in  vain.  The  secdhd  act 
opens  with  an  invocation  to  Isis  and 
Osiris,  sung  by  Sarastro  and  his  at- 
tendant priests.  Tamino  and  Papa- 
geno  are  brought  in  and  instructed  as 
to  the  ordeals  to  which  they  will  soon 
be  subjected.  The  three  fairies  make 
a  last  effort  to  win  them  from  their 
purpose,  and  they  pass  through  _  the 
various  temptations  and  purifications, 
at  last  being  brought  triumphantly 
before  the  altar  to  receive  their  re- 
ward. Unable  to  regain  possession  of 
her  daughter  by  fair  means  or  foul, 
the  Queen  of  Night  now  plots  with 
Monostatos  to  murder  Sarastro.  But 
the  dawn  breaks  and  with  it  the 
power  of  the  Queen  of  Night  ends, 
and  as  the  full  sunlight  pours  in  upon 
the  High  Priest,  the  evil  spirits  van- 
ish and  the  happy  lovers  unite  with 
priests  and  people  in  reverent  thanks- 
giving.    The  principal  musical  num- 


bers are :  Act  I :  "  Der  Vogelfanger 
bin  ich  ja,"  Papageno ;  "  Dies  Bildness 
ist  bezUubernd  schSn,"  Tamino;  "0 
zittre  nicht,  mein  lieber  Sohn,"  Queen 
of  Night;  "Bei  Mannem,  welche  Liebe 
fuhlen,"  Pamina  and  Papageno;  Zum 
Ziele  fUhrt  dich  diese  Bahn,"  finale. 
Act  II :  "  0  Isis  und  Osiris,"  Saras- 
tro ;  "  Wie  ihr  an  diesem  Schreckens- 
ort?"  quintette,  Papageno,  Tamino, 
and  the  fairies.  "  Der  HSlle  Rache 
kocht,"  Queen  of  the  Night;  "  Soil  ich 
dich,  Theurer,  nicht  mehr  sehen?" 
Sarastro,  Pamina,  Tamino ;  "  Pa-Pa- 
Papageno,"  Papageno  and  Papagena; 
"Heil  sei  euch  Geweihten,"  chorus  of 
priests. 

Zavertal  or  Zartval  (Josef  Ru- 
dolf) founded  the  Pension  Society  for 
bandmasters  of  the  Austrian  army; 
was  director  of  military  music  to 
Maximilian,  Emperor  of  Mexico,  and 
on  the  restoration  of  the  Mexican  Re- 
public, became  bandmaster  in  Eng- 
land; pupil  Prague  Conservatory. 
B.  Nov.  5,  1819,  Polep,  Bohemia. 
Wencelas  Hugo  composed;  played 
clarinet,  Austrian  military  bands; 
then  settled  in  England  as  a  teacher. 
B.  Aug.  31,  1821;  brother  of  JOSEF 
RUDOLF.  liadislaus  composed  "Una 
notte  a  •  Firenze,"  Prague,  1886; 
"  Myrrha,"  Nov.  7,  1886,  Prague,  and 
other  operas;  cavalier  of  the  Crown 
of  Italy;  bandmaster  at  Woolwich; 
son  and  pupil  of  WENCELAS  HUGO, 
and  later  pupil  of  Milan  Conservatory. 
B.  Sept.. 29,  1849,  Milan. 

Zayt,  von  (Oiovanni)  composed 
"Nicola  Subic  Zrinjski,"  the  first 
Croatian  opera,  1876;  20  singspiele, 
masses;  conducted  and  taught  at 
Agram;  pupil  Milan  Conservatory. 
B.  1834,  Fiume. 

Zecwer  (Bichard)  played  piano; 
composed,  taught,  played  organ,  and 
directed  music  academy  in  Philadel- 
phia ;  pupil  Leipsie  Conservatory.  B. 
April  30,  1850,  Stendal,  Prussia. 

Zeichen.  Oer.  Musical  sign,  note, 
or  character  used  in  NOTATION. 

Zeitmass.     Oer.    Time,  measure. 

Zele.     Fr.    Zeal  or  energy. 

Zelenski  (Ladlslas)  composed  the 
opera  "  Goplana,"  Cracow,  1896,  a 
symphony,  two  cantatas  for  orchestra ; 


ZELLNEB 


740 


ZICHY 


taught  composition  and  directed  War- 
saw Conservatory;  pupil  of  Mirecki, 
Krejci,  and  Damcke.  B.  July  6,  1837, 
Gradkowice,  Galicia. 

Ze liner  (J^ulius)  composed  two 
symphonies.  B.  1832,  Vienna;  d. 
Wurzzuschlag,  1900. 

Zellner  (Xeonard  Alexander)  com- 
posed; wrote  on  music;  taught; 
edited  musical  works;  son  and  pupil 
of  an  organist.  B.  1823;  Agram;  d. 
1894,  Vienna. 

Zelmira.  6.  A.  Eossini's  two-act 
opera,  to  book  by  Tottala,  was  first 
performed  Feb.  16,  1822,  Naples. 

Zelo.    It.    Zeal. 

Zelosamente.  It.  Zealously, 
ardently. 

Zeloso.     It.    Zealous  or  energetic. 

Zelter  (Karl  Eriedrich)  founded 
the  Liedertafel,  1805,  from  which  grew 
the  great  Sangerbnnds  of  Germany 
and  the  United  States.  This  origi- 
nally consisted  of  25  men,  poets,  musi- 
cians, and  singers,  meeting  monthly 
for  concerts  of  their  own  works.  Son 
of  a  mason,  he  had  no  sooner  mastered 
that  trade  himself  than  he  gave  his 
whole  time  to  music.  At  18  he  com- 
posed a  cantata  which  met  with  the 
approval  of  Marpurg  and  led  to  les- 
sons from  Kirnberger  and  from  Fasch. 
Eventually  he  became  the  successor  of 
Fasch  as  director  of  the  Berlin  Sing- 
akademie,  after  having  served  as  his 
assistant,  and  wrote  his  biography. 
Zelter's  compositions  include  a  num- 
ber of  part-songs  for  male  voices. 
"The  Ascension,"  an  oratorio,  a  Re- 
quiem, a  Te  Deum,  a  cantata  on  the 
death  of  Frederick  the  Great,  and 
many  songs  by  his  friend  Goethe.  He 
was  Mendelssohn's  teacher  and  a  great 
lover  of  Bach.  B.  Dee.  11,  1758,  Ber- 
lin;  d.  May  15,  1832. 

Zemire  et  Azor.  A.  E.  M.  Gr^ty's 
four-act  opera,  to  book  by  Marmontel, 
was  first  performed  Nov.  9,  1771,  at 
Fontainebleu.  The  story  is  that  of 
"  Beauty  and  the  Beast."  The  English 
version  makes  the  name  "  Azor  and 
Zemira." 

Zemllnsky  (Alexander)  composed 
a  symphony,  Gesellschaft  der  Musik- 
freunde  prize,  1897;  the  prize  opera, 
"  Sarema,"    Munich,    1897 ;    pupil   of 


Fuchs,  Vienna  Conservatory.    B.  1877, 
Vienna;    add.  Vienna. 

Zenger  (Max)  composed  the  ora- 
torio "  Cain,"  based  on  Byron's  poem; 
a  tragic  symphony,  cantatas  with  or- 
chestra, three  operas;  conducted  Mu- 
nich court  opera  and  oratorio  society; 
pupil  Lieipsic  Conservatory;  Dr.  Phil. 
B.  Feb.  2,  1837,  Munich. 

Zenobia.  23  operas  have  been  com- 
posed to  this  title,  the  first  of  rec- 
ord being  that  of  G.  A.  Boretti,  1661, 
Vienna;  the  last  by  Pratt,  of  New 
York,  1883. 

Zerliederung.  0er.  "  Dissection." 
Reduction  of  a  composition  to  its 
component  figures  in  order  to  expand 
it  by  their  repetition. 

Zerr  (Anna)  sang  sop.  in  opera,  fa- 
vourite rQles  "  Astrifiamenti "  and 
"  Lucia,"  pupil  of  Bordogni.  B.  July 
26,  1822,  Baden-Baden;  d.  June  14, 
1881,  Baden. 

Zerrahn  (Karl)  conducted  the  Han- 
del and  Haydn  Society  of  Boston,  1854- 
95;  conducted  the  early  symphony 
concerts  given  by  the  Harvard  sym- 
phony association;  taught  theory  and 
singing,  New  England  Conservatory 
of  Music;  pupil  of  Weber  in  Berlin 
and  Hanover;  settled  in  Boston,  1848, 
at  first  as  member  of  Grermania  or- 
chestra; also  conducted  in  New  York 
and  elsewhere.  B.  July  28,  1826,  Mal- 
chow,  Mecklenburg. 

Zerstreut.  Ger.  Scattered,  spread, 
open,  as  Harmonie,  dispersed  or  open 
harmony. 

Zeugheer  or  Herrmann  (Jacob) 
founded  the  "  Quartett  Gebriider  Herr- 
mann," consisting  of  himself  as  first 
violin;  Joseph  Wex,  second  violin; 
Carl  Baader,  viola;  and  Joseph  Lidl, 
'cello,  which  played  chamber  music  all 
over  Europe,  and  finally  disbanded  in 
England,  where  "  Herrmann  "  became 
conductor  at  Manchester  and  Liver- 
pool. B.  1805,  Zurich;  d.  June  15, 
1865. 

Zetiner  (Charles)  taught,  conducted, 
and  composed.  B.  1797,  Germany;  d. 
1857,  Philadelphia,  Pa. 

Zichy  (Count  Geza)  composed 
piano  studies  for  the  left  hand,  and 
was  a  skilful  pianist  and  pupil  of 
Liszt,  though  he  had  his  right  arm 


ZIEMLICH 


741 


ZINGABELLI 


cut  off  at  17;  composed  the  operas 
"Aldr,"  Pest,  1896;  "Meister  Roland," 
1899,  Peat;  a  cantata;  was  intendant 
of  the  Pest  National  Theatre'  and 
Opera.  B.  July  22,  1849,  Sztva,  Hun- 
gary;  add.  Pest. 

Ziemllch.  Qer.  Moderately,  as 
liaagsam,  moderately  slow. 

Ziflern.     Oer.    Cypher. 

Ziganka.  Popular  dance  among  the 
Russian  peasantry  similar  to  the  Eng- 
lish country  dance.  The  tune  is  lively 
and  the  accompaniment  is  usually  a 
"  burden  "  or  "  bagpipe  bass." 

Zigeuner  Baron.  Johann  Strauss's 
three-act  comic  opera,  to  book  by 
Sehnitzer,  was  first  performed  Oct.  24, 
1885,  Vienna.  The  story  follows  Mau- 
rice Jokai's  romance.  SandovBarinkay, 
the  "  Gypsy  Baron,"  had  left  his  home 
in  boyhood,  and  on  his  return,  finds  it 
in  possession  of  the  Grypaies.  He  falls 
in  love  with  Arsena,  daughter  of 
Zsupan,  his  nearest  neighbour,  and 
when  she  ridicules  his  appearance, 
leaves  in  anger  and  joins  the  Gypsies. 
They  make  him  their  leader,  and  he 
marries  SafE,  a  Gypsy  maid.  Finding 
a  hidden  treasure,  he  is  placed  under 
arrest,  but  is  released  on  turning  the 
treasure  over  t{),.^i)it^,A3^trian  govern- 
ment and  jtiimng  the  Austrian^army 
with  his  band.  Returning  to  "' 
after  the  wars  he  is  made  a  baron  for 
his  services,  and  then  finds  that  Saffi, 
his  wife,  is  the  daughter  of  a  pasha. 
The  music  runs  to  dance  rhythm,  and 
is  in  the  best  Viennese  style  of  the 
"  Waltz  King." 

Zikrs.  Religious  dance  of  the  der- 
vishes in  Egypt. 

Zimmermanii  (Agnes)  composed  a 
trio  for  piano;  played  piano;  edited 
works  of  Mozart  and  Beethoven  for 
Novello ;  twice  won  the  King's  Scholar- 
ship, 'Royal  Academy  of  Music,  and 
made  debut  as  pianist,  1863,  London, 
playing  at  the  Gewandhaus,  Leipsic, 
the  following  year.  B.  July  5,  1847, 
Cologne;    add.  London. 

Zimmermann  (Pierre  Joseph 
Ouillaume)  composed  "  Encyclopedie 
du  Pianiste,"  which  is  at  once  a 
method  for  piano  and  theory;  the 
opera  "  L'Elevement,"  Op6ra  Comique, 
1830;    taught  piano  at  the  Paris  Con- 


servatoire, and  was  the  master  and 
father-in-law  of  Gounod;  chevalier  of 
the  Legion  of  Honor;  pupil  Paris 
Conservatoire,  where  he  won  first 
piano  prize,  1800.  B.  Mar.  17,  1785; 
d.  Paris,  Oct.  29,  1853. 

Zingara.  Italian  name  of  Michael 
William  Balfe's  BOHEMIAN  GIRL. 
Zingarelll  (ITiccolo  Antonio)  com- 
posed 28  masses  and  in  all  541  works 
for  organ,  the  "Annuale  di  Loreto," 
where  he  was  chapelmaster,  1794- 
1804;  then  succeeded  Guglielmi  as 
chapelmaster  of  the  Sistine  Chapel. 
He  was  ordered  to  compose  a  Te 
Deum  for  the  King  of  Rome,  and  on 
his  refusal  was  imprisoned  and  sent 
to  Paris,  where  Napoleon  at  once  re- 
leased him  and  gave  him  a  pension 
but  required  him  to  compose  a  20 
minute  mass  for  the  Imperial  chapel, 
and  gave  him  $1200  for  it.  Then  he 
directed  the  Royal  College  of  Music, 
Naples,  1810,  and  from '1816  was  also 
chapelmaster  of  the  Naples  Cathedral. 
No  less  important  as  teacher  than  as 
composer  of  church  music,  he  was  also 
among  the  most  successful  of  dramatic 
composers,  although  none  of  his  works 
remain  in  repertoire.  "Giulietta  e 
Romeo,"  produced  in  1785  at  La 
^cala,  Milan,  and  his  most  popular 
^pera,  was  composed  in  nine  days  and 
eight  hours,  while  his  first  work, 
"  Montezuma,"  presented,  1781,  at  the 
San  Carlos,  Naples,  was  speedily  billed 
at  Vienna,  and  there  was  highly  com- 
mended by  Haydn.  In  1789  Zingarelli 
composed  his  first  work  for  the  Acad- 
emic de  Musique,  Paris,  "  Antigone," 
but  it  was  not  produced  until  the  fol- 
lowing year,  and,  alarmed  at  the  revo- 
lution, the  composer  returned  to 
Milan,  where,  in  1793,  he  evolved  "  La 
Seechia  rapita,"  1793,  his  best  opera 
buffa,  "  II  Mercato  di  Monfregnoso," 
and  a  long  series  of  dramatic  works. 
Son  of  a  singer  and  teacher,  Zingarelli 
was  left  an  orphan  at  an  early  age, 
and  became  a  pupil  of  the  Conserva- 
torio  di  Sta.  Maria  di  Loreto,  where 
an  elder  brother  was  employed  as 
clerk.  There  he  profited  by  lessOna 
from  Fenaroli  and  Speranza  so  well 
that  his  boyish  opera,  "  I  Quattro 
Pazzi,"  waa  performed  by  his  fellow 


ZINOABESCA 


742  ZWEItTNDDREISSIGTHEIL 


students  in  the  Conservatory.  The 
cantata  "  Pigmajione,"  San  Carlos, 
1779,  was  his  first  real  success  in  com- 
position. In  all  he  composed  31 
operas,  80  magnificats,  and  19  can- 
tatas and  oratorios.  B.  April  4,  1752, 
Torre  del  Greco,  near  Naples;  d.  May 
5,  1837,  Naples. 

Zingaresca.     Gypsy  song  or  dance. 

Zinke.    Ger.    CORNET. 

Zither,  ©er.  Modernized  CITHER; 
a  flat,  brass-stringed  instrument,  the 
accompaniment  played  with  the  thumb 
of  the  right  hand,  while  the  melody 
is  brought  out  more  prominently  by 
the  use  of  the  fingers  or  a  plectrum, 
and  sometimes  a  bow.  The  Zither  is 
a  favourite  instrument  with  the  South 
German  and  Tyrolese  peasantry,  who 
use  it  to  accompany  the  voice  as  well 
as  for  solos. 

Zoeller  (Carl)  composed  and  wrote 
on  music.    B.  1849,  London ;   d.  1889. 

Zbgernd.     Ger.    RITARDANDO. 

Zollner  (Karl  Heinrich)  composed 
male  choruses  which  were  sung  by  his 
"  Zollnerverein,"  and  other  singing 
societies  which  were  organized,  1859, 
as  a  Zollner-band;  pupil  of  Schicht, 
Leipsie  Thomasschule,  where  he  after- 
wards taught  singing.  B.  1792,  Dels, 
Silesia;  d.  Wandsbeck,  near  Ham- 
burg, I83@.  Heinrich  composed 
four  operas,  three  choral  works  with 
orchestra,  the  cantata  "  Die  neue 
Welt,"  international  prize,  Cleveland 
Sangerfest,  1892;  a  symphony,  ora- 
torio, male  choruses;  conducted  the 
New  York  Liederkranz,  1840-98,  then 
became  music  director,  Leipsie  Uni- 
versity, and  conductor  "  Paulinchor  " ; 
son  and  pupil  of  KARL  HEINRICH, 
Leipsie  Conservatory;  and  in  early 
life  conductor  vocal  societies,  with 
which  he  toured  Italy,  and  music 
director  Dorpat  University.  B.  July 
4,  1854,  Leipsie;    add.  Leipsie. 

Zopff  (Hermann)  edited  the  "  Neue 
Zeitschrift  fur  Musik  " ;  composed  the 
symphonic  poem  "  Tell,"  "  Carloman," 
and  other  operas,  and  many  works  in 
minor  forms ;  pupil  of  Marx  and  Kul- 
lak  and  for  a  time  was  teacher  in 
their  Berlin  Conservatory.  B.  June  1, 
1826;    d.  July  2,  1883,  Leipsie. 

Zoppa,    Alia.      /*.     "Limping    or 


halting,"  as  the  rhythm  in  which 
the  second  quaver  of  a  2-4  bar  is 
accented. 

Zufallige.     Oer.    Accidentals. 

Zufalo.     It.    Flageolet  or  whistle. 

Zug.  Ger.  Organ  draw  stop;  piano 
pedal. 

Zugwerk.  Oer.  Mechanical  ap- 
pliances of  an  instrument. 

Zuklang.    Ger.  Unison,  consonance. 

Zummarah.  Egyptian  wind  instru- 
ment similar  to  a  bassoon. 

Zumpe  (Hermann)  composed  the 
operettas  "  Farinelli,"  1886,  Vienna; 
"Karin,"  1888,  Hamburg;  "Polin- 
isehe-TVirthschaft,"  1891,  Berlin;  the 
overture  "  Wallenstein's  Tod  " ;  con- 
ducted; was  copyist  and  assistant  to 
Wagner  at  Bayreuth,  1873-76;  pupil 
Leipsie  Conservatory.  B.  April  9, 
1850,  Taubenheim;    add.  Schwerin. 

Zumsteeg  (Johann  Budolf)  com- 
posed ballads,  operettas;  played  'cello; 
became  court  chapelmaster  at  Stutt- 
gart. B.  1760,  Sachsenflur;  d.  1802, 
Stuttgart. 

Zunehmend.  Ger.  "  Adding," 
CRESCENDO. 

Zunge.  Ger.  Tongue  of  a  reed 
pipe  and  the  metal  tongue  in  the  reed 
of  an  harmonium. 

Zur  Hulilen,  von  (Balmund)  sang 
ten.  in  concerts;  pupil  Berlin  Hoch- 
schule.  B.  Nov.  10,  1854,  Livonia; 
add.  Berlin. 

Zurna.  Turkish  wind  instrument 
similar  in  character  to  the  oboe. 

Zur  Nieden  (Albrecht)  composed; 
conducted.  B.  1819,  Emmerich  on  the 
Rhine;    d.  1872,  Duisburg. 

Zuriickhaltung.  Ger.  Retard- 
ation. 

Zusammengesetzt.  Ger.  Com- 
pound. 

Zusammenklang  or  Zusammen- 
laut.     Ger.    Harmony,  consonance. 

Zweifach.  Ger.  Twofold,  having 
two  ranks  of  organ  pipes;  compound 
INTERVALS. 

Zweifacher.  Ger.  Dance  with  al- 
ternate triple  and  duple  time,  also 
called  Grad  and  Ungrad. 

Zwelgestrichen.  Ger.  Having  two 
strokes. 

Zweiunddreissigtheil-note.  Ger. 
Demisemiquaver. 


ZWEIVERTELTAKT 


743 


ZYKBEIi 


Zweiverteltakt.  Ger.  Two -four 
time. 

Zweizweiteltakt.  Oer.  Two-two 
time. 

Zwerchfliite.  Ger.  German 
FLUTE. 

Zwerchpfeife.  Ger.  Piccolo 
FLUTE  or  fife. 

ZwUlingsbruder.  Franz  Schubert's 
music  to  the  one-act  farce  translated 
from  the  French  by  Hofmann,  was  first 
performed  June  14,  1820,  at  the 
Karnthnerthor  theatre,  but  failed 
after  six  nights. 

Zwintscher  (Bruno)  wrote  on  mu- 


sic; taught,  Leipsic  Conservatory, 
where  he  had  been  the  pupil  of  Julius 
Otto.  B.  May  15,  1838,  Ziegenhain, 
Saxony. 

Zwischeugesang.  Ger.  Interpo- 
lated song. 

Zwischenraume.  Ger.  Spaces  of 
the  stave  used  in  NOTATION; 

Zwischensatz.     Ger.    An  episode. 

Zwischenspiel.  Ger,  Interlude 
played  between  the  verses  of  a  hymn 
or  choral. 

Zwolfachteltakt.  Ger.  Twelve- 
eight  time. 

Zymbel.     Ger.    CYMBAL. 


OP.  Ill  AEVIA. 


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